Il vizio ha le calze nere

Following a string of brutal murders, the police in charge find the investigation leads to a connection between a small-time hustler and a club for the city's wealthy patrons that even brings out a young lawyer to help solve the rash of bloody deaths in the city.

This here was quite the fun and enjoyable enough giallo. Like so many of the genre's efforts, what really makes this one so much fun is the rather strong mystery at the heart of the investigation which propels this one along. The quest to uncover the killers' method killing, the presence of the strange incriminating photograph working as a potential hitlist and their strange connection to the mysterious woman that they've all been in contact with, this one goes through the stages quite nicely in order to start this one off in rather fine Giallo fashion. With so much time on the investigation here going through these rather disparate clues and tying them into the main couple that gets caught up in the slayings makes for a rather strong opening start here that gives the film the groundwork needed to launch into it's proper giallo stalking that occurs in here. Starting with the opening hit on the female victim on the city street with the policemans' failure to stop it in time to the double ambush in the park and the surprise encounter in the apartment all make for a series of decent stalking scenes complete with all the usual Giallo trappings as the killer pops up out of nowhere to deliver the death-blow in rather striking fashion and brings about the kind of fun stalking in the finale where it's based upon the stalking in the apartment and how it fully leads into the big reveal of the killer and how it's all finally sorted out in here which is quite a nice time overall. Coupled together with all the fine nudity and sleaze typically associated with the genre at the time, there's quite a lot of positives here to enjoy even if there's still a few minor flaws present. One of the biggest issues is the fact that there's just not a whole lot of actual stalking action present here which really comes from the fact that there's just so much investigating with the police officers standing around debating clues and their significance. They really tend to dominate the film for the most part of the film and all they do is go over the importance of what they've found and how it's supposedly connected to what's going on, and when it's not dealing in those areas it's about the bland day-to-day lives of the couple caught up in everything alongside the police along with the few scenes of them investigating what's going on which really leaves this one with a rather low body count due to a small group of bodies to deal with as there's only so many chances here to work that when it's spending more time on those outside factors. The other big issue here is the fact that there's absolutely no surprise at all who the killer is and it's laundry list of suspects are all so obviously red-herring material that it never once hides who's doing the killer so that the main investigation is rather clumsy even with how well it's written up. These here are what hold this one back.

Rated Unrated/R: Graphic Language, Full Nudity, Graphic Violence, drug use and sexual situations.

This had absolutely zero atmosphere whatsoever. It felt, to me, like a made for TV film. The camera work wasn't too bad, it wasn't breathtaking but there were some very nice shots and sets/locations, so that kept me paying attention even when the story was either not keeping me interested, or just confusing me to the point that I wanted to turn off the TV. I do like that it's a mid-70s giallo rather than the more typical early 70s, because it meant that the fashion was quite fun to observe, being different from a lot of other gialli. Mid to late 70s fashion is some of the best and funnest and craziest in my opinion, but that's completely subjective. Still, it added another factor that kept me watching. Great furniture too.

Overall it's not actually bad, it's just not good either and has no atmosphere whatsoever which is unfortunate in a giallo film. But it's better than I originally thought.

Reflections in Black is a good name for a movie. And this one has a tantalising poster too if you bother to seek it out. But you know that old saying about never judging a book by its cover…

This is certainly one of the least impressive examples of the Italian giallo that I have seen. It was directed by Tano Cimorosa, who also plays the diminutive detective with the 'tache. Cimorosa will be familiar to a lot of you from his memorable appearance in Renato Polselli's brutally sleazy giallo Delirium (1972). Well this movie sure has its fair share of sleaze as well but it's a much less entertaining affair. On the one hand it certainly contains many of the giallo conventions such as a convoluted mystery, violent murders and a healthy amount of nudity; on the other hand it completely lacks any sense of style. As a result it merely comes off as rough edged and at best semi-interesting. It stars giallo regulars such as Dagmar Lassander and Giacomo Rossi-Stuart but they aren't really given a lot to do.

It should be pointed out that the copy I saw was pan and scan and 72 minutes, with poor sound. Perhaps if I saw it in a better version my opinion would improve, as I do believe that there is a 90 minute cut out there. But my main feeling is that the basic ingredients of this one are not terrific no matter the version.

A young woman nicknamed Nellie is murdered with a razor by a woman dressed in black.The next victim named Emma has her throat slashed in a park.The police begins their investigation and question lawyer Anselmi with whom Emma worked as a secretary.The third woman is slashed to death by enigmatic beauty in black.All the victims were friends of layer's wife Leonora Anselmi."Reflections in Black" aka "Vice Wears Black Hose" is a dreary and unremarkable Italian giallo with plenty of sleaze and some sexy Euro-exploitation starlets including Dagmar Lassander and Magda Konopka.My copy runs 74 minutes and I don't have any idea where to find fully uncut 90 minutes Italian version.If you like your gialli with sleaze and full-frontal nudity check this one out.6 out of 10.

Tano Cimarosa's directorial debut represents a well-intentioned but ultimately flawed entry into the giallo genre that never quite achieves the atmospheric tension it so desperately seeks. Set against the unlikely backdrop of San Benedetto del Tronto, this 1975 thriller follows the familiar template established by Dario Argento's masterworks, yet lacks the visual sophistication and narrative coherence that made those films so compelling. The story centers on a series of brutal murders targeting young women, all connected by their association with the wife of a prominent lawyer, but the execution feels more derivative than inspired.

Cimarosa, better known as a character actor in Italian comedies, demonstrates a basic understanding of giallo conventions but struggles to create genuine suspense or visual flair. The cinematography captures the coastal setting adequately without ever transforming it into something memorable or haunting. The killer's black-clad appearance adheres to genre expectations, though the reveal lacks the psychological complexity that distinguishes superior entries in this field. The film's pacing suffers from uneven editing choices that dissipate tension rather than build it, particularly during the investigative sequences that should drive the narrative forward.

John Richardson delivers a competent performance as the investigating lawyer, bringing his characteristic screen presence to what is essentially a thankless role. Dagmar Lassander provides the requisite glamour and vulnerability, though her character remains frustratingly underdeveloped. The standout performance comes from Ninetto Davoli, whose natural Roman charm and spontaneity inject much-needed energy into otherwise perfunctory proceedings. His scenes provide the film's few moments of genuine life, suggesting what might have been achieved with a more inspired approach throughout.

The film's most significant weakness lies in its inability to generate sustained atmosphere or believable character motivations. While the murders are adequately staged, they lack the baroque artistry that defines the best giallo films. The investigation proceeds through predictable beats, and the eventual revelation feels arbitrary rather than inevitable. Cimarosa's script, co-written with seasoned professionals, fails to provide the psychological depth or surprising twists that genre enthusiasts expect. The dialogue often feels stilted, and the relationships between characters never achieve the complexity necessary to invest viewers in their fates.

Despite these shortcomings, the film occasionally succeeds in creating isolated moments of genuine unease, particularly in its use of telephone threats and surveillance imagery. The score, while not particularly distinctive, supports the action adequately and avoids the overwrought orchestration that mars some contemporary efforts. The production values remain consistently professional, suggesting that the film's problems stem from conception rather than execution.