Chassés-croisés sur une lame de rasoir

"Death Carries a Cane" does a pretty good job in misleading and misdirecting you. So you never know who the killer is until the ending. But the motive given for the killer doesn't make any sense. With much more effort that could have made this movie into a classic. Also some scenes did not make sense at all. Like there were scenes cut out that have to give a logical explanation for what they are doing in the scene. This giallo might be a tad sleazy for some but in a healthy way. Because the women in this move are pretty attractive. Especially Nieves Navarro (or Susan Scott). There is something about this woman that screams sophistication. All the more hilarious later on when she is being made fun of towards the end. Overall not the most impressive giallo still a good one for a rainy Sunday.

Ordinary Italian murder/horror/mystery fair. I found it to be visually spectacular with swaying camera work common to Argento and others.

The movie delivers the goods with naked drop dead gorgeous women and fairly graphic killings. The plot is too complex, but these type of movies really are more about style.

The name Maurizio Pradeaux probably won't ever be written in the annals of cinematic history, but he will at least be remembered by the true lovers of Italian gialli for his two contributions "Death Steps in the Dark" and "Death Carries a Cane". The former was released in 1977, already after the heyday of the gialli, and tries to be successful through mixing the whodunit-mystery plot with slapstick elements. The latter is from the absolute peak-year 1973 and is an exemplary giallo from every possible viewpoint! The plot, the disguise and modus operandi of the killer, the red herrings, the gratuitous nudity … it's all prototypic and by-the-numbers giallo material. But personally I couldn't care less. Quite the contrary, in fact, I tremendously enjoyed "Death Carries a Cane" although – admittedly – the plot twists are slightly too transparent and I would have preferred an even higher body count. Whilst waiting for her lover, photographer Kitty looks through a tourist telescope and witnesses the brutal murder of a pretty girl by a maniac dressed in black. Nobody believes her, of course, and it takes quite a while before the police find the body. It even takes so long that the killer also has the time to eliminate two other witnesses, namely a chestnut vendor (no, it's not Tom Savini) and a greedy cleaning lady. Eventually another pretty ballerina gets killed and the police are on the lookout for a crippled killer, because they found the print of a cane in the blood. Kitty's lover Alberto is the prime suspect, because he's an artist who stabs mannequin dolls for pleasure and he just happened to hurt his ankle. It's actually rather easy to guess who the killer is, and I don't quite know if this is because I've seen far too many gialli, or because the plot is really predictable. I suppose option number two… Still, you have to watch this film for it's hilarious politically incorrect dialogs ("Take a look at my girlfriend's pictures, it's the only thing she does well aside from making love…"), the bloody razor blade massacres and the nudity provided by one-hit-wonder Anuska Borova!

This is a rather mediocre giallo, yet another one co-starring Susan Scott and Simon Andreu; though not a Luciano Ercoli film, it would place somewhere between his two DEATH WALKS titles.

The backdrop for the mystery this time around is a dance academy - hence the original title, which translates to DANCE STEPS ON A RAZOR'S BLADE; the English one, then, refers to the fact that the killer is ostensibly lame. Among its roster of artistically-oriented(!) characters is a photographer (Scott), her special-effects technician boyfriend Robert Hoffman, a musician/producer played by Andreu and Anuska Borova as a scoop-seeking female reporter (who has a twin sister, a former dancer whose colleagues are being brutally murdered!). George Martin(!), who plays the Police Inspector, also co-wrote the script with the director; his face seemed oddly familiar to me but, looking at his filmography on the IMDb, I only recognized the fine Spaghetti Western THE RETURN OF RINGO (1965) - which, incidentally, also featured Scott (under her original Spanish name of Nieves Navarro)!

The film provides plenty of red herrings throughout, but the final revelation is so abruptly presented as to be practically unintelligible! As was the case with THE FORBIDDEN PHOTOS OF A LADY ABOVE SUSPICION (1970), Scott is decked out in some horrendous 70s fashions (worst of all an over-sized cap like the one Jack Nicholson - in The Joker's guise - would wear in BATMAN [1989]!). Besides, the film's overall visual style is pretty uninspired (apart from the stalkings, done from the killer's POV), with its eye squarely on the narrative's exploitable elements - witness the numerous wholly gratuitous sex scenes, and even featuring a dance pirouette that culminates in a striptease! The dubbing, too, is among the worst I've had to sit through for this type of film. Roberto Pregadio's score is pretty nice, though - whose main theme, in keeping with the musical elements of the plot, is turned into a recurring motif.

This movie has all the elements of a good giallo, but it somehow manages to fumble every one of them. All gialli have ridiculously convoluted plots, but the plot of this movie could best be described as random and meandering, and it never succeeds in developing any real tension. While looking through a viewfinder in a park the heroine (Nieves Navarro) accidentally spots a woman being killed by a man with a cane and a straight razor. Suspicion falls on the heroine's boyfriend (the incredibly bland Robert Hoffman)even though his girlfriend is the only witness or potential witness(including a street vendor, a blackmailer, and a prostitute)who is NOT immediately murdered as well. Meanwhile, as the boyfriend is forced to investigate the murders to clear his own name, the killer also continues going after his main targets--pretty young women associated with a mysterious dance academy.

There are way too many characters in this story (even a minor female journalist character has an identical twin sister for no good reason)and almost all of them carry a cane. (Be careful though because this is the kind of movie where even the cane itself might be a red herring). The final revelation of the motivation of the killer is always enjoyably ridiculous in gialli, but here it is just plain dumb. The only thing that might recommend this movie is the gratuitous nudity. EVERY woman that appears on the screen in this movie finds a reason to get naked (including a memorable scene where a ballerina suddenly decides to go topless during her routine). Even this becomes a liability, however--Nieves Navarro is actually a pretty good actress and I'm sure no one will complain about her two gratuitous sex scenes, but does she really need to stand out around bare-ass naked when all she's doing is discussing the case with her boyfriend?

In its favor this movie DOES have some amount of visual style, and it will probably be looked on more favorably when it is released on legitimate DVD (which shouldn't be too long--THREE Nieves Navaro gialli have been released in the last six months). OK, not great.