Six femmes pour l'assassin

This was undeniably a major influence on the Gaillo style of film and probably also on the later "body count" serial killer films.

In this film, a serial killer wearing a hose mask kills women brutally and viciously. The film sets up many likely candidates and well keeps one guessing and guessing. Great stuff!

Bava's color visuals also stand out and apart as usual. This is simply gorgeous to view.

The flick deals with a respected house of style (managed by Eva Bartok and Cameron Mitchell) where happens several bloody murders and gruesome executions . A diary seems to implicate about anybody fashion models are dying . Then the diary disappearing originates a real massacre of the remaining fashion girls . An inspector (Thomas Reiner) investigates the strange killings with numerous suspects (the usual baddies Franco Ressel and Luciano Pigozzi or Alan Colins , Massimo Righi , among others).

Bava's second great success (the first was ¨Black Sunday¨ or ¨Mask of Demon¨)is compellingly directed with startling visual content . This frightening movie is plenty of thrills, chills, high body-count and glimmer color in lurid pastel with phenomenal results . This is a classic slasher where the intrigue, tension, suspense appear threatening and lurking in every room, corridors and luxurious interior and exterior . This genuinely mysterious story is well photographed by Ubaldo Terzano and Mario Bava with magenta shades of ochre , translucently pale turquoises and deep orange-red .

The movie belongs to Italian Giallo genre , Bava (¨Planet of vampires¨, ¨House of exorcism¨) along with Riccardo Freda (¨Secret of Dr. Hitchcock¨ , ¨Il Vampiri¨) are the fundamental creators . In fact , both of whom collaborated deeply among them , as Bava finished two Fedra's films ¨Il Vampiri¨ and ¨Caltiki¨ . These Giallo movies are characterized by overblown use of color in shining red blood , usual zooms and utilization of images-shock . Later on , there appears Dario Argento (¨Deep red¨, ¨Suspiria¨,¨Inferno¨), another essential filmmaker of classic Latino terror films . Rating : Good, this is one more imaginative slasher pictures in which the camera stalks in sinister style throughout a story with magnificent visual skills.

My Rating : 7/10

'Blood and Black Lace' has all the spice and style I like in slashers/thrillers. Giallo filmmaking at its apex.

This is some damn fine atmospheric murder mystery filmed in true Mario Bava style.

Superb. Love this movie!

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.