Seis Mulheres Para o Assassino

When the model Isabella (Francesca Ungaro) is murdered by a masked killer, the models of the fashion house managed by Contessa Cristina Como (Eva Bartok) and her lover Max Marian (Cameron Mitchell) are shaken with the crime. The model Nicole (Ariana Gorini) finds Isabella's diary and late night she borrows the car of her friend Peggy Peyton (Mary Arden) and heads to the shop of her boyfriend Frank Sacalo (Dante DiPaolo) to meet him. However, the masked killer follows Nicole and kills her expecting to find the journal. But Peggy had stolen the diary to destroy pages that compromises her and she is also murdered by the killer. Meanwhile Inspector Silvester (Thomas Reiner) has a list of suspects that includes Frank, who blackmails Marquis Richard Morell (Franco Ressel) to give the necessary alibi to him. Who might be the killer and why the diary is so important to him?

"Sei donne per l'assassino", a.k.a. "Blood and Black Lace" is a giallo film directed by Mario Bava and one of his best movies. The colors, shadows and stylish camera-work give the perfect environment to the gruesome murders. The plot is standard with a masked killer that the police believe that is a sexual maniac stalking and killing beautiful women. The conclusion gives a good explanation to the mystery and the plot is well-resolved. My vote is seven.

Title (Brazil): Not Available

Note: On 01 March 2017 I saw this film again. Note: On 07 June 2020 I saw this film again.

Title (Brazil):"Seis Mulheres Para o Assassino" ("Six Women for a Killer")

Bava of course is the ultimate auteur whose mysterious visual style alone makes pretty much any of his movies worth watching. Here however there is a bit of a tug-of-war between his desire to materialize victims' fears in delirious murder sequences (especially in the antique store), magically colored with his amazing lighting techniques, with rather pedestrian cops-and-robbers sequences that are a bit stilted and have a 1940s aura about them. Bava is undoubtedly at his best in pure horror, when he can leave the real world behind. Still, though, his mythological spaces in this film, a fashion salon, amazingly baroque apartments, create a dream-like anything can happen atmosphere. And he's not just being scenic. Bava has a keen eye for the aura of intimacy that women create about themselves and when that space is violated and especially when the murderer strikes, and then gets rough with their dead bodies, one feels the violation viscerally. Bava works so hard to decorate the aura of women with all the curtains, statues, dresses , mannequins (somehow commenting on the proceedings) and engaging close-ups, that when his victims are shown dead with their bras on, it seems more shocking than the hundreds of nude corpses in the slasher movies in years to come (he's often credited with creating the slasher, maybe formally, but not in tone). In fact, the best setpiece in the movie features a dead women in her bra with a suit of armor fallen on top of her, a bizarre tableaux with hint of necrophilia. In spite of his stylistics, Bava doesn't wander off plot, which turns out to be carefully revealed, and with a twist. Cameron Mitchell is quite good. Obviously, all of Bava should be watched, including this one.

Made in 1966 but holding up today this is a textbook example of how to do a giallo. Carlo Rustichelli's film score, Ubaldo Terzano's cinematography, a good troupe of actors and Mario Bava's tense direction add up to a thrilling film. A good giallo is not just about the kills but the mystery narrative that contains them and this does both excellently. It's a darn fine movie.

Originally titled 'Six Women for the Killer', this Mario Bava film is often cited as the movie that pioneered the giallo horror subgenre with a plot that places more emphasis on gruesome murders than catching a killer. Full of creepy tracking shots and with eerie sound effects frequently favoured over background music, the film certainly succeeds in depicting a handful of memorable murders and stalking sequences. There is a particularly effective part where one victim to-be is chased around an antique dealer's place where every nook and cranny is lit up in varying neon shades of blue, pink and purple. The opening murder is effective too. The plot, characters and acting here leaves a lot to be desired though with the story coming to a near stand-still in between the murders. Thomas Reiner makes for one of the dullest police detectives of all time, though to be fair, the cast are hardly saddled with the sort of dialogue that could have made their characters come alive. Of course, many will be quick to point out that narratives are always a secondary consideration in gialli, but when one considers what Dario Argento was able of achieve in years to come with films like 'Suspiria' and 'Tenebrae' that managed to wrestle good performances and a decent plot into the giallo formula, it is hard not to mentally compare and contrast. Certainly, if viewed with minimal expectations, there is a lot to like about 'Blood and Black Lace'; it is simply hard not to expect something more revolutionary from a film that kick-started an iconic movie trend.

Blood and Black Lace (1964)

**** (out of 4)

Mario Bava's ground-breaking murder-mystery takes place around a model agency where one by one women begin to be murdered by a person dressed in black and a haunting white mask. A police inspector appears to have a list of suspects narrowed down but soon he realizes that there are many twists ahead of him.

BLOOD AND BLACK LACE might not have been the first giallo ever made but there's no question that it had the biggest impact on the genre and it influenced everything that was to follow. It's easy to watch this film and see how it would influence the likes of all Italian mysteries going forward and especially those of Dario Argento. It's been said that Bava was a genius with the camera and that's obviously true by watching this Technicolor gem that jumps off the screen from the opening shot to the very last.

To me the real star here is the actual look of the film. From the opening shot to the very last you're greeted with some of the greatest and more lured images that you're ever going to see. Several directors were able to work wonders with Technicolor but I really can't think of too many who used the colors so well. Just take a look at the great detail in the various red colors throughout the picture. Whether it's a diary, a phone or blood flowing through a tub, the color just jumps out. The solid black look of the killer is something else that really stands out in the picture and just take a look at the sequence where a light flickers on and off to highlight the killer.

The film offers up some very good performances from the cast. Even though Cameron Mitchell is the only "name" here, everyone does a very good job in their roles. The death scenes are quite poetic in their own right and there's no doubt that the mystery keeps you guessing right up to the end. Another thing I've always loved about this picture is Bava's style. It really just seems as if the camera is floating from one scene to the next in a poetic way that captures the beauty of everything we're seeing on the screen but also ties everything together.

BLOOD AND BLACK LACE is one of those landmark films that has been copied dozens of times over the years but it's lost none of its luster. The film is as impressive today as it was the day it was released.