Le chat à neuf queues

The second Dario Argento movie is one of his classics, although not as excellent as "L'uccello dalle piume di cristallo". Also here there's everything you expect from an Argento picture -an extremely well directed thriller, exciting shots and a very good editing.

The story is original, but at the end everything seems a little... thrown away, it seems that Dario was in a hurry to finish and the terrible truth at the end has something wasted. A journalist and a blind man investigate about a series of murders -as it happens in many Argento films. Their research focuses on a medical institute, which is developing a medicine for curing criminal instincts.

James Franciscus, the leading man, is too American and too handsome for being a credible Italian journalist. And the scene in the crypt is highly improbable -Franciscus penetrates a crypt in order to look for a necklace...

Good points are the shots -subjective shots-, in which the spectator can follow the action with the assassin eyes. Good cinematography, exciting soundtrack of Ennio Morricone and excellent presence of Karl Malden -he acts very well the role of the blind man.

If "L'uccello dalle piume di cristallo" deserves 9 out of 10, "Il gatto a nove code" deserves "only" 7 out of 10.

I just can't understand the editors of the "Maltin Movie and Video Guide" sometimes. How could they possibly give their lowest "Bomb" rating to 1971's "The Cat O'Nine Tails," for example, citing its "graphic gore and sex" and "bad dubbing"? The uncut DVD that I just viewed had hardly any gore at all, one very brief topless scene and was excellently dubbed (indeed, the main characters look to be speaking English). This is actually a very fine mystery thriller that should have received 3 stars from this often-dubious guide. In the film, a blind ex-reporter played by Karl Malden teams up with journalist James Franciscus to investigate a string of murders that takes place following a break-in at a genetics lab. The two make a fine and believable team, especially when joined by Malden's cute little niece (Cinzia de Carolis); I could have easily seen the pair continuing on to a crime-busting TV series of their own. Speaking of TV, this film often reminded me of old "Avengers" episodes, what with a crazed killer doing away with folks around a scientific institution while our heroes scramble to track him/her down. Of course, though, this is a Dario Argento giallo--his least favorite of all his films, he tells us in one of the DVD's many extras, but a very entertaining one from where I sit. The picture has a complex plot that takes many unexpected turns, involving genetic anomalies, garrotings, a visit to a gay bar, a double poisoned-milk tribute to Hitchcock's "Suspicion," kidnapping, blackmail, an insult contest, a very-high-speed car chase, grave robbing, death by locomotive and elevator shaft, and on and on. Ennio Morricone here delivers yet another superb score, alternating between a creepy childish lullaby of sorts and discordant, pulsating, arrhythmic jazz. The film also features some excellent dialogue and handsome production values. A bomb? Hardly!

Il gatto a nove code (The Cat O' Nine Tails) is written and directed by Dario Argento. It stars Karl Malden, James Franciscus, Catherine Spaak, Horst Frank, Aldo Reggiani, Carlo Alighiero and Rada Rassimov. Music is by Ennio Morricone and cinematography by Erico Menczer.

Blind puzzle solver Franco Arno (Malden) and newspaper man Carlo Giordani (Franciscus) team up to see if they can solve the mystery of the murders that are terrifying the city. With their own lives becoming increasingly in danger, and the lines of investigation splintered all over the place, the men are drawn to the mysterious Terzi Institute where geneticists are tampering with gene patterns…

Argento doesn't like it and the fans are very much divided about the worth of it on the Argento curriculum vitae, yet The Cat O' Nine Tails is a delightfully entertaining oddity.

The plot is labyrinthine with relish on top, spinning the viewers into the same convoluted investigative maze that Messrs Arno and Giordani find themselves in. In fact, it's near genius that it rarely makes sense under inspection, yet still there's a fascinating edge to the story, with its characterisations, sexual kinks and cruel murders, there's a power to the piece that rewards if you can just run with it, buy into Argento's Giallo singed world.

With Malden turning in a great performance and Franciscus performing to a level nobody thought was in him, the lead characters really come to life. Add to that Morricone's creepy jazzy-garde fuelled score underlining the skew-whiff nature of the beast, and Menczer's photography tonally muted, tech credits are at one with the themes ticking away in the narrative, a narrative that has observation, ironically, on vision, sight and minds eye. While there's a couple of rug-pulls jostling for our attention just to keep things twisty.

Then there is the director himself. The Cat O' Nine Tails finds him restrained compared to the excess of style over substance films that would dominate his oeuvre post release of The Cat. That's not to say there isn't style here, there's plenty as Argento dallies in POV, iris vision, and a nifty trick that gives the blind Arno "sight", further ensuring that the supposed handicapped character is the key player and potential saviour of all. A number of scenes are bursting at the seams with suspense, with a cemetery/mausoleum sequence top draw, for sure Argento is firmly getting in his stride here.

It's not a gore movie, something which I personally think has led to some of Argento's fans giving the film the cold shoulder, but it's the tale (or tails of course) and characterisations that hold it up as being under valued. It's a Giallo whodunit flecked with sexual stings and no little amount style draped all over it. 7/10

Okay, most critics even Argento lovers give this film poor reviews. I admit this is not his best work, but it's not a bad mystery Giallo film and I enjoyed it a lot. From the intricate plotting, to the impressive Argento style camera-work, and those trendy (circa 1971) sets this film is a winner. I saw this at the theater when it was released, as a teenager coming off seeing Bird W/ The Crystal Plumage 2 years before so I expected at least another stylish horror film. I got it black patent leather gloves and all. Argento himself said this is his most disappointing film. I disagree it delivered the goods in a well made, suspenseful, well plotted, never boring and good looking package. His worst film by far is the atrocious Phantom of The Opera (1998). Avoid that one. Although Cat O' Nine tails is no Suspiria or Deep Red, it still is a worthy addition to any Argento or Giallo horror film collection. I give it 8/10.

I saw this on The Horror Channel.

Having seen a few Dario Argento horror flicks on this channel now, I would dare say that Cat O' Nine Tails is the most restrained, at least in the gore/violence stakes, of those I've watched. There are moments of extreme but swift, clever nasty bits, though.

I guess you'll be watching this cos it is by this so-influential 'Italian Hitchcock' maestro rather than for its story, but having said that, it's decently far-fetched enough but with enough relevance to paranoia around government testing of miracle drugs and all that...

It looked to me to have been made in English, rather than dubbed, or could just that the brilliant, understated performance by Karl Malden was and everyone else were dubbed after. He plays a blind, retired journalist, who has a young orphaned girl as his visual aide and along with a current newspaper reporter,(James Franciscus) they uncover all these secrets after a man, they suspect, was pushed under a train, rather than falling and then, other murders.

I'm no expert on the horror genre but would dare say that this still has signs of the director's visual stylish daring, but is less operatic than some of his, being more workmanlike and 'American'. It still works well, but is more akin to a crime thriller than out-and-out horror, though we do get moments of terror and suspense and the odd twist in the tale.

This might be a lesser Argento (number of reviews and score on IMDb) but is still a heap better than many Hollywood affairs but somehow, doesn't have that magic ingredient that his best movies have. Quite good, but not great.