Il segreto del vestito rosso

I admit, Cyd Charisse was the main reason why I wanted to see this movie. Being the year 1965, when the film was made, she is no longer the super-sexy young woman she was 10-15 years before, when she showed off her glamorous legs in films like "Singin' in the Rain" (1952), "The Band Wagon" (1953), "It's Always Fair Weather" (1955), "Viva Las Vegas!" (1956), "Silk Stockings" (1957), "Party Girl" (1958), "Black Tights" (1960). Here she is still beautiful, but looks, at only 43 years old, more like an old woman. The film is what I would call a romantic thriller, neither very much, nor too much. In two secondary roles, two more beauties appear, the Italian Eleonora Rossi Drago and the French Juliette Mayniel. Watch it if you love them!

From Silvio Amadio, director of the Gialli "Amuck" and "So Young, So Lovely, So Young", comes this passable international-intrigue thriller with an engaging cast. It attempts to be a sophisticated crime mystery in the Hitchcock vein, and is reasonably entertaining if never anything great.

Hunky American star Hugh O'Brian ('The Life and Legend of Wyatt Earp') is cast here as Dick Sherman, an American reporter working in Rome. Re-entering his life is Shelley North (Cyd Charisse, "Brigadoon"), who was there on vacation with her husband Bill, an engineer. Bill has gone missing at roughly the same time as a stranger has been found murdered near a fountain. Dick works to solve the case along with the inspector (Alberto Closas) assigned to the case.

As a mystery, this is nothing special, with a resolution that falls short of real satisfaction. We're supposed to be caught off guard by the reveal of the antagonist, but it would have worked better if the whole mystery were better explained. As it is, it does feature the requisite number of red herrings, and it does have some fairly exciting scenes.

Mostly, it's an effective visual experience. Other than the fact that the ladies (also including Juliette Mayniel and Eleonora Rossi Drago) are lovely, it's well handled in an aesthetic sense, with colourful 2.35:1 photography. The film is additionally enjoyable as something of a travelogue - there are many attractive Italian location shots. We even get to see inside Italy's famed Cinecitta Studios, which is the real treat.

O'Brian may not make anybody forget Cary Grant, but he comes off pretty well as the likeable, earnest hero. In fact, he comes off better than leading lady Charisse. The supporting cast is fairly strong, with some striking character faces among the other players (including a comedy relief pair of bumbling thieves who happen upon an important plot element during their escapades).

"Assassination in Rome" is nothing one has to go out of their way to see, but lovers of crime mysteries in exotic settings are sure to get some value out of it.

Six out of 10.

Cyd's husband has disappeared while on holiday in Rome and she enlists the help of the American Embassy to locate him. A drunk stumbles upon a dead man at Trevi Fountain. The dead man's apartment is robbed by a couple of inept thieves. Hugh is a newspaper editor in search of a story and learns of former lover Cyd's dilemma and decides to get involved. Enjoyable Italian made thriller with lovely on location photography. Hugh with the help of the inspector eventually ties these pieces together. But not before having to sift through a number of red herrings to get to the motivation behind Cyd's missing husband and the murder. The story is a bit difficult to follow but it moves along at a good pace and will keep your attention.

A film wich stays in the mean among the Eurospy sixties wave. For Hollywood doesn't seem to seek to offer much choice for actresses above 40, Cyd Charisse makes here a very remarquable prestation as Shelley North, a wealthy American in Rome, in a production which stands far below her standards. Driven in an espionage plot around the usual microfilms of military secrets, Shelley worries about the sudden disappearing of her husband Bill (Alberto Dalbes, Paranoia/A quiet place to kill), and is helped to find him by her former lover Dick, a journalist (Hugh O'Brian), and his colleague of the fashion column Erika (Eleonora Rossi Drago, Nelle pieghe della carne).

Developments are far to be nervous and the story goes on on a rather dull pace, but false leads, around an elegant mafia boss (Mario Feliciani, Maigret a Pigalle) or a couple of suspicious friends (Philippe Lemaire and Juliette Mayniel, Solamente Nero), allows the suspense to endure, and the duet of comics Memmo Carotenuto and Franco Giacobini brings a welcome funny counterpoint. The postcard mood is for its part respected with Dolce Vita's Trevi Fountain, ruined panoramas of Rome and water trip through Venice under doves flight.

Lacking of any efficiency, Dick must recognize that he is "the biggest idiot in the whole world", the police officer Baudi (Alberto Closas) has to reduce himself to wonder "how come I didn't think of it before", while the so-called "secret of the red dress" indeed seen from time to time is to remain nebulous. But the film also looks towards the giallo issue, with a good final chase of a masked murderer bearing ambiguous identity through spiral staircase and steep roof, foretelling the later to come by the same Amadio (Il sorriso della iena and Amuck/Alla ricerca del piacere), and allowing the plot to find a resolution.

This one has some Giallo elements (the title with the colour in it, a mysterious murder, loads of style) but may well be one of them spy-thriller type things too (I know nothing about that genre). I'll tell you one thing, though - it's a bit of patience-stretcher even though it's gorgeous looking.

A woman reports her husband missing while on holiday in Rome while a tramp finds a corpse propped up at the Trevi Fountain. A handsome American reporter gets involved with both cases (especially as the woman is his ex!) and starts to find links between them. Meanwhile, two burglars find they've burgled an already ransacked flat but find a strange package in the heel of a shoe. Also there's a fat guy going around spying on folks and there's a cop with a bad stomach also on the case. And the mafia too - I forgot about them. And a hooker. And another one of the reporter's ex-girlfriends. And another one of them too. And an ex-drug addict painter.

The woman lists all the people she knows in Rome: a strange couple and an even stranger old man who kept pestering her husband. After a flashback at the Coliseum, and a visit to the Cinecitta (where an extremely camp man comes onto our reporter!), everyone heads off to Venice to catch up with the mystery there.

As I said, this is a very fine looking film and not too bad a mystery, but considering the other films surrounding it chronologically it could have used a bit more bite, and probably a better explanation (more than "So THAT's who it was"). I still have no idea who the fat guy was in relation to anything else, and he tried to kill the hero about ten times! Maybe I wasn't listening. There are a few twists in here that are pretty good, and the death of the killer turns up in Argento's Cat O Nine Tails (and I'm gonna come right out and say it, a lot of stuff from these early films turns up in Argento's films, but who cares?).

I wish they wouldn't smoke so much in these films. I used to love smoking in Rome - nothing better than a 'Diana' or an 'L&M' on a veranda at night listening to all them cars beeping at each other. Best way to end a hard day's sightseeing and eating. I used to always hit my head of the shutters on the way back in because I was too stupid to lift them up high enough. Now it's caravans in Flamborough and weak lager and fresh air.