L'assassino è ancora tra noi

Based on a spate of unsolved, real-life murders in Florence, The Killer Is Still Among Us is a mid-80s giallo that lacks the intricate plot, stylish direction and stunning cinematography that is typical of the genre, but which compensates somewhat with a nastier, more misogynistic tone than usual and a final scene of sickening sexual violence designed to ensure the film a certain level of notoriety.

Exploitative elements aside, the film is a rather unremarkable effort that offers very little in the way of suspense and far too much boring exposition. For the first hour or so, the sex and violence is kept to a minimum, the thrust of the film being criminologist student Christiana Marelli's dull investigation of the murders and her growing suspicion of boyfriend Doctor Alex—all of which is very uninteresting.

During the course of her enquiries, Christiana crosses paths with a group of voyeurs, which widens the pool of suspects somewhat, but none of this is of much consequence: the film's raison d'être is clearly the 'money shot'—the graphic mutilation of a female victim (a nauseating nipple slice and some bloody knife damage to the nether regions)—after which The Killer Is Still Among Us closes without resolution, the open ending claiming that the film was 'made as a warning to young people and with the hope that it will be of use to law enforcement'.

Yeah, right!

If you thought that GIALLO A VENEZIA took the giallo genre to its logical conclusion of violence, this one wins hands down. It was made pretty late for a giallo (late 80s) and I guess that is reflected by the outrageous bloodshed that presumably was tacked on to get some kind of financial return on this one...

Stylistically, this is reasonably effective. It has a bit of a "TV movie" look that I really don't like. The atmosphere that my favourite gialli (such as DON'T TORTURE A DUCKLING or EYE OF THE LABYRINTH) manage to conjure up is simply not present here. Still, the plot seems pretty neat if a little too straightforward for a film of this nature (then again I'm a sucker for the contrived and complex!).

Once again, the sexual violence is the focus of this film. The scene in the tent is really very nasty and explores the farthest reaches of sexual exploitation, only dabbled with previously by the likes of THE BEAST IN HEAT and DELIRIUM...

Still, it's worth a look I guess. I'd still rather watch a well-crafted but less excessive giallo any day of the week.

Very effective, brutal, gory and sexy thriller in the giallo mould. Mariangela D'Abbraccio is lovely as the leading lady as a criminal student getting involved in an ongoing and terrible series of sex killings of young couples making out in the backs of cars (and one tent).

Not quite as creepy as it might be but not short on sleaze and as for the bar where voyeurs hang out before setting off to spy on such young lovers - unbelievable! Some great moments and some of the most extreme sequences of sexual violence I have seen.

I prefer the alternative title, 'The Killer Is still Among Us' which is much more fitting when it comes to the astonishing cinema ending.

It's notoriously difficult to get your hands on an English language version of this late Giallo, and while I did manage to get one; my copy is very dark which did perhaps mean I didn't get the best out of this film as a lot of it takes place at night. Even so, it's clear that The Killer Is Still Among Us is not among the best of the genre. Its reputation suggests it to be nasty, which it is; but despite a promising beginning and the odd interesting moment, this is a sadly misguided and lacklustre effort. The film begins with a scene that sees a couple in a car butchered by an unseen assailant. The action then switches to a girl named Cristina who is studying criminology. With all these murders going on right under her nose, she naturally decides to use them for her thesis and begins looking into the murders by way of the victims. This soon turns out to be a big mistake as Cristina begins receiving threatening phone calls and then her acquaintances begin getting picked off by the same killer she is investigating.

The film often gets compared to the likes of The New York Ripper and Giallo a Venezia as it's along the same lines in terms of nastiness. This film is probably more violent than the latter two titles; but it's not done with as much style and while the violence is good (if you like that sort of thing), it's not enough to lift the film sufficiently. It's clear that director Camillo Teti was not the most sensitive man to ever live, as an interesting fact about this film is that there actually was a killer on the loose around the Florentine area at the time this was made! The story is really not all that interesting; the first half flows well and lead me to believe that it might develop into something noteworthy but unfortunately it never does; which is quite surprising considering that the screenplay was written by Giallo luminary Ernesto Gastaldi. It all boils down to a very odd conclusion that takes place in a cinema and doesn't make a whole lot of sense, though it does lead to the film's most shocking sequence. Overall, The Killer is Still Among Us is not of the Giallo greats and is actually one of the worst that I've seen.

Camillo Teti's L'Assassino é ancora tra noi aka The Killer is Still Among Us (Italy, 1985) is a giallo murder mystery that is based (unfortunately) on true story about the killer in Florence. As far as I know the killer is still free and not caught which makes the gruesome film even more unsettling although the film is far from the really atmospheric and thus effective films of the genre. I didn't see the subtitled version, I only saw the Italian language print so unfrotunately the plentiful and long scenes of dialogue went beyond me.

A criminal stundet female starts to investigate a brutal series of murders commited by unknown person who kills young couples making love and kissing in their cars on the outskirts of the city. He/she shoots his/her victims with a pistol and the mutilates the (mostly female) bodies in such horrific detail it is not possible (nor necessary) to go into details here. Soon the murderer becomes interested in the protagonist lady, too, and she starts to suspect even her own boyfriend at one paranoid point as there really are no clues about who the real killer would be. The film opens with a murder, has some truly great scenes at the middle part and beginning, has a lot of talking and going from places to others and ends in a sadistically explicit aftermath mutilation and a little epilogue surprise.

The mentioned effective scenes really stand out and frightened me even though I watched the film daytime (still in darkness) and from television. First incredibly imaginative and devilish detail comes at the very beginning when the killer's point-of-view shot shows a dead female lying on the ground while the killer hand's SHADOW covers her dead body and kind of "flies" and flutters all over it, making it look like a bat straight from Hell trying to seduce the soul of the girl. This is exactly what effective horror imagery is about, and it is wonderful to find such elements in otherwise pretty exploitive films like this.

The second stand out scene is even more effective and comes at the middle part when the protagonist is alone in her apartment and hears something from the hallway. She goes to the door and sees something that makes Argento proud for sure. The "eye thing" is among the most nerve shreddingly shocking horror scenes I've seen for some time and again shows the power of such extreme close ups. If these two scenes were accompanied with a great music score and soundtrack a'la Goblins (for example), they would be just perfect. Now they are extremely effective and (almost) on the same level with the greatest examples of the genre like the masterpieces by Argento, Fulci and other legendary names.

The acting is quite good and restrained and the lady who plays the protagonist is not annoying at all in her difficult role as she is frightened and shocked most of the time. Roles like these require a lot from the actor as they involve plenty of eye and face movements and reactions which can really be horrible to look at if the actor is not talented and cannot use his/her face in the acting restrainedly and naturally. Sadly the soundtrack manages to impress only rarely and it is definitely among the film's biggest needs especially when we're in giallo and horror genre.

The murders are graphic and merciless but even more repellent are the things the murderer does to his victims after their death. The notorious scene among those few who've managed to track this rare film down comes at the very end when the film makers show in graphic close ups and detail how the killer slices the most private parts of the female he has just shot dead. The scenes are very strong and effects convincing and at the same level with the sickest bits in the various cannibal flicks like Lenzi's Eaten Alive! (1980) and Cannibal Ferox (1981), Fulci's New York Ripper (1982), Landi's Giallo a Venezia (1979) and some of the Orient nasties like Otto Chan's Diary of a Serial Killer (Hong Kong, 1995) and Danny Lee's & Billy Tang's creepy and great looking Dr. Lamb (Hong Kong, 1992, being far stronger in its uncut form i.e. not the HK CAT III form) plus some other films including sexual violence and unspeakable acts commited to living or dead bodies. The imagery is so excessive that the film becomes obviously a pretty exploitative one which naturally tones its serious potential down and makes it difficult to take as a noteworthy piece of work on any other level than exploitation.

The ending is pretty unusual and has a certain irony this kind of a subject matter wouldn't necessarily need. But it can also be seen as a straight statement and depiction of the murders/producers/public circle usually involving plenty of greedy thoughts and interest on other people's suffering and wickedness in our world and so it distantly reminds me of the theme's in Deodato's classic Cannibal Holocaust (1979) but VERY distantly as Deodato's film is so thoroughly loyal to its themes and despite the film being very violent it never becomes exploitive and gratuitous but naturally this statement requires a certain understanding towards films with extremely hard-to-take imagery like in Holocaust. But that is usually what powerful cinema is about.

If I had seen the subtitled version of Teti's film, I would know more about the relations and thoughts of the characters and maybe they'd shed some light on the film and its obvious exploitive status and make it perhaps a little more noteworthy. I will definitely check the subtitled version one day if I manage to meet it. Now L'Assassino gets 3/10 and is still freshly in my mind due to the two stand out giallo scenes mentioned and of course due to the over-the-top imagery rarely (if ever) surpassed in other films from anywhere.