La mort a souri à l'assassin

This movie seems interesting on paper: it's directed by the infamous Aristide Massacessi (aka Joe D'Amato) and it features overly intense German actor Klaus Kinski and Swedish nymphet Ewe "Candy" Aulin. But fans may find D'Amato being a little too classy, Kinski being a little too subdued, and Aulin being a little too dressed. This movie is a latter-day Italian Gothic but it was made at a time when those films, which had been big in the 60's, were in decline and the more delirious Italian gialli were ascendant. This film is a strange hybrid of the two--it has the period trappings of a Gothic horror but makes even less sense than your average giallo.

The plot (if that word applies here)involves two different doctors who seem to be reviving the dead for some reason--or are they? (I'm not being mysterious here--I really don't know). One of them is Klaus Kinski, but I suspect the famously temperamental actor might have stormed off the set so they gave part of his role to somebody else. Ewe Aulin is the dead(?) woman who seems no worse for wear. After her carriage crashes on the estate of a nobleman (who coincidentally is the doctor's son),he and his wife take her in and they both fall in love with her. The wife, however, is very jealous (although it's not clear of whom) and keeps trying to kill this possibly already dead girl. After an unsuccessful bathtub drowning (which naturally turns into a steamy lesbian sex scene) she seals her in a tomb with the family cat (for yet another Italian homage to Edgar Allen Poe) before the movie sinks completely into incomprehensibility.

This film resembles other latter-day Italian gothics like "The Devil's Wedding Night" (with Rosalba Neri) or "The Night Evelyn Came out of the Grave" (with Erika Blanc). I would have preferred Neri or Blanc to Aulin in this kind of movie--they all look good naked, of course, but Blanc and Neri are a lot better in these evil roles. The cinematography here is definitely superior to the other two films, however, and is the best thing about this movie (it's easy to forget that D'Amato was a superb cinematographer before he became a world-renowned pornographer). Fans of virtuoso cinematography, non-linear Eurohorror, and badly-dubbed Eurobabes, who aren't bothered too much by a complete lack of plot will probably like this. Others may not.

Joe D'Amato is often said to have directed nothing but worthless sleaze, but this reputation is certainly not (completely) justified. I have personally been a fan of the prolific Exploitation filmmaker for years, and though it is true that his repertoire includes a wide range of crap, he is also responsible for several downright great films, and for many vastly entertaining ones. Such as the ultra-gruesome video nasties "Antropophagus" (1980) and "Buio Omega" (1979). Or this stylish little film, in which D'Amato dabbles in the great sub-genre of Gothic Horror. "La Morte Ha Sorisso All Assasino" aka. "Death Smiled At Murder" of 1973 is a stylish, obscure and incredibly atmospheric Gothic tale that is incredibly creepy at times. Even though this is not as nauseating as "Antropophagus" or "Buio Omega", the film is genuinely nasty at times, with a wide range sexual intrigue and perversions as well as a bunch of very gory scenes. The film's arguably greatest aspect is the mesmerizing score by Berto Bisano, which contributes a lot to the film's uncanny atmosphere. The casting of the always-sinister Klaus Kinski in the (sadly small) role of a mad scientist is another highlight that makes this a must for my fellow Italian Horror lovers.

The one weak point of the film is that the story is a bit too confused for its own good. I love convoluted plots, but this one has several huge holes. A proper description would be difficult, as the film handles several topics that are interlaced, and the structure is not always 100 per cent comprehensible. Set in early 20th century Europe, the film is basically is about an ancient Incan formula, which is capable of awakening the dead. A beautiful young woman (Ewa Aulin) is injured in a coach accident near a castle that leaves the driver dead. The castle is owned by a kinky aristocratic couple, Walter Von Ravensbrück (Sergio Doria) and his wife Eva (Angela Bo). The mysterious beauty who cannot remember anything after her accident is first checked by the (equally mysterious) local Doctor Sturges (Klaus Kinski)... A macabre Gothic tale, the film also bears some elements of the Giallo and Zombie genres but it is mainly in the style of 60s Gothic Horror, transformed into a nastier and sleazier 70s style. The great Klaus Kinski (one of the greatest actors ever, in my opinion) gets top billing, but, sadly, little screen time. The man gets the best out of the screen time he has though, he simply was one of the most brilliant actors ever to play madmen. Although not as constantly sleazy as many other D'Amato outings, the film provides female eye-candy. The female cast includes beautiful Ewa Aulin in the lead and the equally sexy Angela Bo. The performances are generally quite good, other than the Kinski and the two leading ladies, the cast also includes two other cult-actors that any fan of Italian genre-cinema will recognize: the hunchbacked Luciano Rossi, who, due to his ugly looks, would mostly play crooks and psychos, who plays another demented role here, and Giacomo Rossi-Stuart, who is probably best known for his role in Mario Bava's Gothic masterpiece "Operazione Paura" (aka, "Kill Baby Kill") of 1966. Overall, "Death Smiled at Murder" has only one major flaw, which is that the storyline is too co fused. Otherwise, this is a creepy, atmospheric and vastly enjoyable Gothic tale from D'Amato that lovers of Italian Horror should not miss! My rating: 7.5/10

'Death Smiles on a Murderer' is a 1973 horror/giallo hybrid with a rich gothic setting bathed in an unnerving dreamlike atmosphere with stylish set-pieces, a non-linear storyline that's both confusing and intriguing at the same time. The camerawork has a lot of cool yet bizarre shots which adds more to the strangeness of this flick and the direction by Joe D'Amato is really strong with stunning cinematography work which makes every scene pop in the way it should.

The plot set in the early 1900's where a mysterious young woman Greta (Ewa Aulin) whose carriage crashes outside the Ravensbruck mansion and not remembering who she is, is soon taken in by the wealthy couple Mr & Mrs Von Ravensbruck. Soon the three of them enter into a dangerous love triangle, and soon it is revealed that Greta is there to take revenge on the family as the plot further unfolds.

I do admit that if you don't read the plot synopsis before watching this movie, then things get's really confusing due to it's oddly structured storyline that jumps around a lot with quickfire pacing that could allowed more time to breathe which makes the whole thing rather uneven as a whole. But there's enough thrills and surprises to keep you interested throughout with effective set pieces and a great cast of characters thrown together in this rather strange and unique world.

Ewa Aulin is fantastic as Greta who has a wonderful alluring quality to her mysterious character and Klaus Kinski is another firm standout as the mad scientist and gives a wonderfully creepy performance, and actually wanted more of him throughout, but the interesting subplot was cut rather short. Luciano Rossi as the brother Franz is quite effective and terrifying in his short screen time yet makes a firm impression.

Overall 'Death Smiles on a Murderer' is a pretty decent flick with an unusual structure that may not appeal to everyone, but it's an okay effort all round.

Death Smiled at Murder…and horror admirers all over the world salute Joe D'Amato for delivering this film, by which he proves that he's not just an insane and untalented adult-filmmaker. Okay, D'Amato made a lot of meaningless, cheap quickies throughout his entire fertile career but he does know how to tell a creepy and unsettling horror tale. Just look at 'Beyond the Darkness'…or this 'Death smiled at Murder', which is an even better example. The plot doesn't always make sense, but it's beautiful to look at and it's very stylishly elaborated. The settings and photography are mesmerizing and the delightful musical score is almost hypnotic. But of course, this wouldn't be a D'Amato film if it didn't also feature a rather large dose of sleaze and violence. Kinky Joe shamelessly stuffed his film like a Thanksgiving turkey with slightly perverted elements (incestuous lust, an obscene love-triangle…) and nauseating gore (decomposed corpses, a face entirely shattered by shotgun…)

Summarizing the plot of 'Death Smiled at Murder' isn't a very easy thing to do as it handles about multiple macabre topics. A sinister doctor is on the verge of translating an ancient formula carrying the secret of how to raise the dead. A beautiful young girl and her deranged brother seem to be involved in this process as well but they first annihilate the entire population of a countryside mansion. The owners of this mansion, a rich couple, are both romantically involved with the gorgeous girl named Greta. The acting is fairly good as well, with Klaus Kinski on top. His role in the film isn't very essential, but his up-to-no-good grimaces provide the story with an extra bit of eeriness. With this film, D'Amato proved being capable of delivering films that are on the same quality-level as some of the Jess Franco films and maybe some of the weakest Mario Bava films. Recommended to every fan of top-Eurosleaze

Greta von Holstein (Ewa Aulin) survives a terrible accident, and is taken in by the Ravensbruck family. Dr. Sturges (Klaus Kinski) is called in to examine her. This somehow leads to his discovering how to re-animate the dead. When someone murders Sturges and absconds with his secret, horror soon follows.

That's the basic, skeletal plot. The rest of DEATH SMILES ON A MURDERER is a series of love affairs, sexual situations, and a soap opera story line with an Edgar Allan Poe tie-in, interrupted by gruesome deaths. This may sound cockeyed and absurd, and it is. However, there's something eerie about it that makes it watchable. It's held together by a sort of nightmare logic.

Beautifully filmed, with haunting set pieces, it seems nonsensical, yet satisfying nonetheless. Ms. Aulin is both stunningly beautiful and terrifying!

EXTRA POINTS FOR: The graveyard scene!...