Os Crimes do Gato Preto

Following the death of his ex-girlfriend, a film-score composer finds himself and those closest to him in jeopardy when the killers' spree turns to them, forcing him to piece together the strange clues left behind in order to make sense of the mystery and put a stop to the killings.

For the most part, this one proved to be a rather fun giallo. Among the film's best aspects here is the enjoyable storyline that serves the film nicely. There's some fantastic storylines and subplots at aplay, as the initial start with the half-heard conversation and murder the next day at the fashion house launches some fun here with the blackmail revelation, adultery and secret drug-ring that caters to most of the models at their studio, giving the potential for the usual red-herrings and double-crosses throughout the film. The way the connections slowly build together, from the motive of the cat attacking the victims and how the trick was accomplished to the detective work uncovering the real killer detailing all the different incidents that have taken place which is wrapped together for an extremely engrossing, fast-moving mystery. As well, there's quite a lot to like here with the absurd killing method which offers a real change of pace in the genre. The idea of a cat trained to attack using a special poison mis on it's claws being carried around in a wicker basket covered by a yellow shawl is a wholly unique and original tactic that gives the film something different. As the handler still comes with the traditional look and getup, the mix of styles creates some fine shock jumps of the victims suddenly getting attacked by something or the scenes featuring the killer striking in more traditional manners. The stalking scenes are incredibly suspenseful as well, from the train station encounter, the confrontation in the abandoned factory and the incredibly tense finale in the house which has plenty of suspense and graphic kills which give this one a lot to like. There are a few issues with the film. The first problem is a rather distressing inability to really go for its own charge instead of doing the genre's hits like a checklist. This one pulls off every point in the style, from the continuous half-hearted revelations of the blackmailing attempts and secret keeping, the amateur detective following along the nature of the crimes by his inadvertent involvement that comes about through happenstance and the need for continuing on the killing spree in order to keep the secret hidden because the deaths uncovered an unrelated secret. These are all brought about by the needs of the genre and run through here in a generally routine manner, giving it a wholly cliched feel. The other issue is the underwhelming and abrupt finale that is shocking for the suddenness of it's ending, making this one a little lower with these issues.

Rated Unrated/R: Graphic Violence, Full Nudity and Language.

Cats, and particularly the black-colored ones, are quite popular animals to feature in horror movies. Mainly thanks to the influence of Edgar Allen Poe's legendary writings, but also because they're sinister and mysterious animals whose actions are largely uncontrollable. Particularly the Italian horror industry used a lot of (black) cats and the story lines often try to fool us into believing these vicious animals are responsible for the ongoing terror, even though there's always – duh – a human culprit behind it. Sergio Pastore's "Crimes of the Black Cat" is a very competent Giallo, perhaps a bit standard and obviously borrowing ideas from similar efforts, but nevertheless entertaining enough to please the majority of fans of this marvelous Italian horror sub genre. What story aspects are borrowed from other Giallo-titles? Well, the victims of the maniacal killer are nearly all gorgeous models working for the same fashion house, as it was the case in Mario Bava's "Blood & Black Lace"; generally considered as THE movie that started the whole Giallo-madness in 1964. Also, the male lead – who begins to investigate the murders on his own – is blind, like Karl Malden's character in Dario Argento's "The Cat O'Nine Tails". The most important elements in Sergio Pastore's script are original however, like the modus operandi used for the killings and the large amount of red herrings & convoluted plot twists when approaching the finale. The lifeless body of a young model is found in her dressing room. She seemly died of a sudden heart attack but closer investigation shows that the claw of a cat dripped in poison caused her premature death. Since the police don't seem to be in a hurry to find the person behind this fiendish murder, the girl's former boyfriend Peter (a blind pianist) starts his own search, assisted by his loyal butler and the murdered girl's roommate. They slowly unravel a whole criminal network involving adultery, blackmail and drug-addicted circus artists. "Crimes of the Black Cat" is reasonably well paced and features a satisfying amount of action and excitement. The first 15 minutes are rather tame, but this is widely compensated by the outrageous and suspense-laden climax. The cat-claw murders aren't very spectacular, but there's a truly sadistic and stomach-churning scene near the end in which a poor girl is stabbed to death in her, "Psycho"-style in her shower. This particular murder surely belongs in the top ten grossest Giallo-moments! Unlike other contemporary Giallo-highlights, the musical score is unmemorable and there isn't that much female nudity on display. Pastore's direction and the performances of the ensemble cast are just adequate without surpassing any exceptional boundaries. "Crimes of the Black Cat" perhaps shouldn't be the first film to watch when you're new to the Giallo-sub genre, but it's definitely a good film that I warmly recommend.

(aka: THE CRIMES OF THE BLACK CAT)

Filmed in Denmark with a largely Italian cast in a setting away from the usual Italian locations for this genre. So forget that these people are Danes speaking Italian. You can't be too specific with a film like this.

OK so you've seen this before and if you've seen BLOOD AND BLACK LACE, then you'll know how it turns out. Even so, this really isn't bad watching and the story is constructed well despite a couple of suspense contrivances for the audience like footsteps approaching a door, expecting the viewer to believe it's the killer when it turns out to be the hotel bellboy delivering breakfast.

Blind composer Peter Oliver (spaghetti western star, Anthony Steffen) helps sleuth the murders of fashion models in swanky Copenhagen after his close friend Paola is murdered. He suspects something is wrong when he overhears a conversation about a crime in a restaurant while waiting for Paola to show up. She never does. It turns out Paola is blackmailing Victor (Giacomo Rossi-Stuart), threatening to expose some incriminating photographs to his wife (Sylvia Koscina).

Of course when it comes to this genre, the murders can't always be done in a straightforward way and one particular device is using a black cat who's hands are dipped in curare, scratching the victims and causing them to have heart attacks. Strange, yes, but that's typical of the genre so one has to suspend disbelief if you want to watch films like this.

I won't reveal who the name of the killer is. You'll have to see that for yourself, but I will say that it ends in one of those typical freeze-frame endings that were popular in the 1970s.

The DVD by Degored is of poor quality, taken from videotape source with dropouts appearing occasionally and muffled sound, although the subtitles in English look pretty accurate.

There are worse out there.

5 out of 10

The first half of this giallo is fairly undistinguished, especially since it blatantly copies Mario Bava (the fashion-house setting being lifted, yet again, from BLOOD AND BLACK LACE [1964]) and Dario Argento (borrowing its blind hero-turned-sleuth from THE CAT O'NINE TAILS [1971]). However, the film is stylish enough (particularly the zoom-happy murder sequences) and the plot convoluted enough (taking in a plethora of shady characters invariably involved in adultery, drug-taking, blackmail and revenge) to overcome its basic lack of originality; the circus-world back-story, then, should perhaps excuse its uniquely far-fetched murder method...though the seven yellow-silk shawls referred to in the original Italian title are equally insignificant!

The film's pulsating score by Manuel De Sica (son of neo-realist master film-maker and versatile actor Vittorio De Sica) is serviceable but unremarkable, as is the cast led by Anthony Steffen, Sylva Koscina (in what at first appears to be merely an extended cameo) and Giacomo Rossi-Stuart. Its use of nudity is very discreet (though it doesn't appear that any cutting was done, I haven't been able to establish the film's correct running time; the print I watched was around 94 mins. in PAL format, but some sources list versions running as long as 108 mins.!) and the gore only truly surfaces at the very end (with a particularly nasty shower murder, shamelessly ripping off Hitchcock's PSYCHO [1960] - but remaining, for my money, one of the genre's most memorable set-pieces). After the mystery has supposedly been solved (and the revelation of the killer's identity having thus proved quite lame and lazy, in my opinion), the film manages to pull the rug from under our feet - so much so that I had to watch the ending twice! - by providing one final twist. By the way, the decision to conclude the film in mid-sequence on a freeze-frame is another Argento influence, namely FOUR FLIES ON GREY VELVET (1971)!

All in all, a giallo more interesting in its borrowings than for any individual achievements - but one that remains eminently watchable just the same.

Stop me if you've heard this one before (don't really though) - a black hatted, gloved killer is working his way through the models at a fashion house. Blind composer Anthony Steffan gets caught up in all this nonsense because the first victim is his girlfriend Paola, who about ten seconds previously, dumped the poor guy by letter. That's right - a blind guy, dumped by letter.

Add to that the strange conversation Anthony overhears in his local bar. Someone seems to be blackmailing someone else to do something, but then an annoying hippy throws on a 'groovy' record to 'freak out' to, and Anthony only hears about half the conversation. The waiter describes a woman in a white cape to Anthony, but the other conversationalist must have slipped out a back door, because the waiter didn't seem them. Can I add here however that the record lasts about fifty seconds. Thank God it wasn't some prog or something.

The next day Paola is found dead at the fashion house. It's a kind of locked room mystery, as no one else was there, she has a slight scratch on her face, and there's a yellow shawl lying nearby. Model Margot swears there was a basket in the room too, but that's disappeared. The annoying police, plus Anthony (with sidekick butler Umberto Raho in tow) get right on the case.

There's plenty of suspects too, from hunky Giacomo Rossi-Stuart, second in command at the fashion house and a fanny rat to boot, then there's his missus, the boss of the place. There's also your usual lesbians involved, some gossips, slags, blackmailers. You know the drill by now.

Anthony maybe be blind, but he's no fool. He's one step in front of the police, but one step behind the killer, and what's his dead girlfriend doing in supposed blackmail pictures with Giacomo Rossi-Struart? Someone else gets the old yellow shawl/scratch killing, and Giacomo gets closer to the killer, or at least the person being forced to set up these killings - using his sense of smell!

Sure it's derivative of Mario Bava's Blood and Black Lace (the fashion house) and Argento's Bird With A Crystal Plumage (with the tape recorded clue, and Umberto Raho), there's still loads to enjoy here. There's a great colour scheme (mostly yellow of course!) and Anthony's character is composing the soundtrack to a giallo! When you see footage of it, you'll notice it's Lucio Fulci's Lizard In A Woman's Skin, and as an added bonus, it's the bit that reveals the killer. Good work there.

There's the scene where a character leads Anthony to an glass recycling plant (I think...in 1972?) and leaves him to injure himself amongst all the glass and sudden drops, and a razor killing in a shower that takes the gore level way beyond anything else seen prior to it in the film. The Copenhagen setting is different from the norm too.