L'assassin est au téléphone

This Giallo by Alberto De Martino, who made a very watchable and entertaining "The Exorcist" rip-off in 1974 ("L'Anticristo" aka "The Tempter"), boosts Anne Heywood in the female lead role as a woman that suffers amnesia after she sees the killer of her husband again five years after the murder, and Telly Savalas as the cold-blooded assassin who tries to kill her before she regains her memory.

The idea is nice, but De Martino's direction is a little bit too slow and, especially in the first half of the film, the flow of the scenes sometimes looks hacked up in a way, so it's difficult not to use the fast forward button on one's VCR. The second half is better and the film becomes a passable thriller, while the climax itself with the uncovering of the person who contracted the killer five years ago remains the best moment of the whole picture.

All in all a mediocre, rather anemic Giallo. Savalas also acted in De Martino's mafia actioner "I Familiari delle Vittime non Saranno Avvertiti" aka "Crime Boss" aka "New Mafia Boss" of the same year, which also doesn't belong to the best films of its genre.

The Killer Is on the Phone is available in a clean, vibrant version with Italian audio which is always a plus. However, though it's low on sleaze (which I wholly approve of) it's also low on action and intensity, leading to a slight dullness.

I appreciated the twists in the mystery which is more of a "why" than a "whom" but you have to really wait for that ending.

I generally delight in spooky atmospheric fare, but this film comes across more like a drama than a Gothic horror, and I did not particularly like the main character which made it difficult for me.

Still, L'assassino...e al telephono is solid and I can't in good faith knock it as a whole.

There were five main reasons why "The Killer is on the Phone" stood on top of my watch list, and they all add up to each other! Number one: it's an Italian giallo! This perverted and violent type of whodunit-thriller is my favorite sub genre of horror and it's my personal mission to track down every single and most obscure installment ever made! Number two: it's an Italian giallo from the magical year 1972! They heyday of my favorite sub genre was relatively short, give or take from the mid-sixties to the mid- seventies, but the early seventies were the best years and 1972 in particular with too many brilliant gialli to list ("What have you done to Solange?", "Don't Torture a Duckling", "Who Saw Her Die?", "The Red Queen Kills Seven Times" and about fifteen more). Number three: it's an Italian giallo from the magical year 1972 and directed by Alberto De Martino! Mr. De Martino perhaps wasn't the greatest cult director from Italy, but he did courageously attempt to cash in on every trend and his movies are always massively entertaining ("The Antichrist", "Blazing Magnum", "Holocaust 2000", "The Puma Man"…). Number four: it's an Italian giallo from the magical year 1972, directed by Alberto De Martino and starring Telly Savalas! That's right, the one and only Kojak and former Ernst Stavro Blofeld makes a rare giallo appearance here! Savalas was and forever remains a monument of 70s cult cinema and here in this movie he gets to do what he does best: stand around silently and look ultimately menacing! Number five: it's an Italian giallo from the magical year 1972, directed by Alberto De Martino and starring Telly Savalas, AND entirely shot on location in my native country Belgium! Admittedly that last little detail meant the cherry on the cake for me. For some unknown reason, they shot the film in Belgium instead of Italy and it's fantastic to see familiar places pop up in a giallo, like the Ostend ferry port or this beautiful park in Bruges. Hence there also was the opportunity for Willeke Van Ammelrooy, an actress only famous in Belgium and The Netherlands thus far, to receive a bit more international recognition.

Of course, considering all the above points, you'd think that I'm extremely biased and couldn't possibly write a properly objective review about "The Killer is on the Phone". Not true, in fact, because even though I'm incredibly happy that I was finally able to watch this movie, I do reckon that it's merely just a mediocre effort that probably won't even make my giallo top 50. The main shortcomings here are definitely the slow pacing, the unnecessarily complex and illogical plot and – most of all – the lack of violence and perversity. Theater actress Eleanor Lorraine spots a bald and uncanny man at a drinking fountain and faints. This was the same man who murdered her beloved husband five years ago, but because of the shock she suffers from amnesia and doesn't remember anything that happened in the past five years, including the killer's identity. The killer – Ranko Drasovic – doesn't know Eleanor's memory is gone, so he starts stalking her and plans to get rid of the witness. Meanwhile, Eleanor's surrounding also face many issues. She doesn't recognize both her new husband and her lover, and she has forgotten all her lines of the stage play that premieres the next Saturday. The script surely has a lot of potential and features a handful of great ideas, but the elaboration is poor and implausible. Eleanor suffers from a severe case of amnesia, yet everybody allows her to wander around town on her own and hold private investigations without offering her help or support. The killer has numerous of opportunities to eliminate her quickly but prefers to observe her endlessly, instead… probably just to stretch the running time. Oh, and by the way, so much for the film's title, as the killer only calls her house once and that sequence is rather irrelevant because there isn't an actual telephone conversation going on… The last 10- 15 minutes feature a few suspenseful moments and typically absurd giallo-twists, including the chase behind the theater scenes and the truth regarding her husband's death, but it's not enough to save the film. Stelvio Cipriani provides a marvelous musical score, as usual, and furthermore this film only proves that Bruges is a beautiful city; 36 years before the blockbuster hit "In Bruges" did the same.

I'm a big fan of the Giallo sub-genre; so much so that I can often find things to like in even the worst of the genre. However, I'm really struggling for good things to say about this one! I often find that Giallo's which try to focus on a single character are the most disappointing, and the genre is best known for stylish and gory death scenes for a reason! The main problem with this film is undoubtedly that it's just too slow and boring, and the reason for that is simply that not enough interest is created in the lead character and her situation. The film focuses on a woman named Eleanor. Eleanor is suffering from amnesia. Her husband was murdered five years previously and she passed out at the sight of an imposing bald man named Ranko. She wakes from a coma and has blanked out the last five years of her life and doesn't recognise her new husband George. It also just happens that Eleanor is about to appear in a stage play, but ends up having to ask her sister to replace her. Eleanor continues to have nightmares about the mysterious Ranko...

Alberto De Martino is not one of the better known Italian directors, and judging by the films I've seen from him; I have to say I'm not really surprised about that (despite the excellent Formula for a Murder). The acting is not really up to much either, with British actress Anne Heywood failing to impress or inspire sympathy in the lead role, while Telly Savalas does not deliver the kind of performance that previous roles have shown he can deliver. The cinematography and locations used are both surprisingly bland, which is a shame. The film reminded me somewhat of Mario Bava's disappointing Lisa and the Devil (not just because both films feature Telly Savalas), although Bava's film has a lot more going for it than this one does. Music is often an important part of this type of film also and there have been many memorable scores written - again, however, you will not find one here. It all boils down to a dull finale and overall, unless like me you are a big fan of the genre and ultimately aiming to see every Giallo ever made; I would highly recommend giving this film a miss!

Eleanor (Anne Heywood), a famous theater actress, arrives in Ostende, Belgium, to perform in her new play, Lady Godiva. But at the station she meets Ranko (Telly Savalas), a hitman come to kill a diplomat, and they recognize themselves immediately, awakening in her an old trauma. She faints under the shock and looses through an anterograde amnesia all her memory since the last five years, in fact since the accidental death of her boyfriend Peter (Roger Van Hool), thus joining the giallo characters of the disturbed heroin (Le Orme, L'Occhio nel labirinto, Senza Via d'uscita). Eleanor has now to reconstruct herself by finding what exactly happened so dreadfully five years ago about Peter and Ranko, and that she has since forgotten.

But the cat Ranko with his compulsory black gloves and switchblade knife starts to stalk the mouse Eleanor in a threatening way. Was she herself a murderer? Does Ranko work for a hidden somebody? Was Peter's death really accidental? Who should be the bad genius of Eleanor's life? We wander with her through the labyrinth of her disjointed thoughts where past, present, fantasies and plays mix up concealing all issue. Her relatives try to help her to get out her state of "chronic anxiety verging on paranoia" and to gather the pieces of "the mosaic of her memories": her husband George (Giorgio Piazza), her lover Thomas (Osvaldo Ruggeri), her doctor Chandler (Antonio Guidi), her sister Dorothy (Willeke van Ammelrooy), and Peter's sister and owner of the theater Margaret (Rossella Falk, from Piu tardi Claire to Sette orchidee macchiate di rosso).

On his side Ranko the killer doesn't waste time and begins to add corpses to extend his hit score. And as an actress must perform on stage, Eleanor will be back at her theater for a spectacular final confrontation, allowing the real tragedy to join the played ones. Finally the killer is not so much on the phone, but the title must have been chosen to match with great Hollywood standards like Dial M or Sorry Wrong Number. Even if the film lacks in some way of rhythm, punch and thrill, it stays classic within the style in this very heart of the giallo wave, and does achieve at last its mission. (Viewed in an Italian 1h38 version.)