Il vizio ha le calze nere

Very rare but highly improbable giallo, that's about it. This movie is part of the late entries into the giallo genre and obviously hasn't much to say.

A lady in black (close shot on the black hose she wears)kills several young ladies (wearing undies, as usual) with no apparent motive (oh, really?). Except that the ladies are all related to a picture on which they appear altogether. The detective( John Richardson)penetrates the world of a very rich family where everything seems to be, well...mysterious.

Oh well, very usual indeed. Vice always finds home in the italian haute-bourgeoisie, loads of lesbian scenes & female nudity, and murders scenes piling up in a very tired way (all razors except one strangulation). The resolution is completely absurd (and the explanation of the sole survivor is utterly funny as she doesn't seem to be convinced of what she says).

The director has no sense of rythmn (essential in that genre) and lacks of strength when it comes to direct. The actors are like robots doing their thing over and over, lead by british actor John Richardson (and genre veteran)who was on the decline of his career.

The suspense does work anyway and for those who know the Giallo tricks, it's nevertheless obvious who's doing what. The director although tries to give a different tone (a comic one) with John Rochardson's sidekick, as if he wasn't interested in the suspense : that's why maybe the murders scenes are so mechanical and uninteresting.

For genre lovers only, IL VIZIO HA LE CALZE NERE has very few appeal on all levels even though the version I've seen is a 71 mn running time and appears to be heavily cut.

has been shot in Techniscope 2.35:1. Watch out for the horrible pan and scan version

Superwonderscope says : 4

Well, it's safe to say that Reflections in Black isn't the most interesting example of the Giallo genre, but it has more than its fair share of sleaze and the short running time ensures that the film doesn't really have time to run of steam. One of the most nauseating things about this film is the cinematography. Director Tano Cimarosa doesn't really seem to care about the sets and colour schemes that set Giallo apart from the thriller genre on the whole and goes for a grisly look and feel to the film. This does, of course, blend well with the film's sleazy nature...but it's not very easy on the eyes. The sleazy plot line focuses on the brutal slashing of a number of women. After interviewing a few suspects, it soon becomes apparent that the murderer is focusing on the friends of Leonora Anselmi. Leonora is married, but that doesn't stop her from having numerous relationships with other women…

Director Tano Cimarosa seems keen to keep the focus on sleaze and savagery throughout, and if we're not witnessing a woman being slashed open with a razor blade, we're watching two of them getting it on. Normally, a film like this would get a high rating from me; but because the cinematography is so painful, none of it is pleasing to the eye and that ensures that it's all rather uninspiring. The cast features two recognisable names, those belonging to John Richardson, the star of a number of Italian films including Bava's Black Sunday and Lenzi's Eyeball, and Dagmar Lassander; who also appears on a number of cult cast lists. Neither really has room to impress here. Despite putting more focus on sleaze, the plot is actually quite complicated; and is made more so by the fact that all the characters are wafer thin and it can be difficult to work out their motives because of that. The ending doesn't come as much of a surprise, although I wasn't really expecting it to. Overall, Reflections in Black really isn't a good film; but I hesitate to completely condemn it as it's a great exercise in crappy film-making, and it does at least do some of the things that you want a Giallo to do.

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.

Mixed bag... but mostly pretty bad.

First, this film does a couple things right. The dialogue is better than it has to be, and it mixes in moments of wit and humor throughout the script which are a nice bonus. The acting varies. Some of the actors are quite good. Some even convey appropriate grief in response to murder. However, there are other actors here that are utterly unconvincing as their "characters." It's pretty bad at times.

The film never decides on a proper protagonist. There are 3 or 4 contenders. But no central hero to root for.

In the end, the villain does not get their proper time to shine in all their madness. It felt unsatisfying. I'd skip this one.

This is one of your sleazier gialli right up there with scuzzy favorites like "Strip Nude for Your Killer" and "The Slasher Is a Sex Maniac". The plot even by giallo standards is hopelessly convoluted and ridiculous with far too many thinly-drawn and similar-looking characters for any non-Italian viewer to keep straight. To his credit, the first-time director, sleazeball character actor Gaetano Cimorosa, obviously tried to inject some visual style into the proceedings, but to little avail. Still there is fun to be had here; at least, if you can get past the unusually homophobic storyline that has any number of heterosexually desirable bisexuals and lesbians being killed for no other reason than their sexual orientation (even as the movie itself hypocritically wallows in prurient lesbian sex).

Normally, I'd describe the plot right here, but, believe me, it really doesn't matter with this one. The movie is currently available in two versions. The English version is full-screen with Dutch(?)subtitles, but it looks pretty decent. The Spanish language version (obviously from the post-Franco, post-censorial "destapa" period) is wide-screen and is the only version featuring nudity from the ravishing Dagmar Lassender and Magda Kopovka. Unfortunately, its also WAY too heavily padded with softcore sex scenes that manage to slow even further the movie's already glacial pace, and it looks horrible to boot. Pick your poison (lucky me, I own 'em both).