Le sadique de la treizième heure

Co-written, albeit unaccredited, by Mario Bava (who's the greatest Italian horror genius of all times) and directed by Antonio Margheriti (who's the most underrated Italian horror genius of all time); this simply had to be a terrific Giallo-outing and a downright must-see for all fans of the Italian horror industry. It's a bit unfortunate that the majority of reviews I encountered thus far aren't as enthusiast as they ought to be. Several people seem to complain about the predictability of the plot and the overall lack of rudimentary Giallo trademarks like gory murders and naked chicks. Well, they do make a valid point but also appear to be forgetting that "Naked You Die" is actually one of the earliest entries in this wondrous sub genre of horror, predating Dario Argento's most famous Gialli ("Deep Red", "Bird with the Crystal Plumage") and carefully elaborating on the trend started by the aforementioned deity Mario Bava ("The Girl Who Knew Too Much", "Blood and Black Lace"). "Naked You Die" was made in an era when clichéd plot twists were still considered original and the image of black gloved hands around the neck of a young defenseless co-ed were still found ultimately shocking and disturbing. On the contrary, I bet in 1968 "Naked You Die" was quite controversial and provocative with its themes about lewd boarding schoolgirls secretly meeting up with their hunky teachers at night and pervert janitors peeping at young girls showering. And, if anything, this was undeniably an influential piece of horror film-making being one of the first to use a remote all-girl school as the playground setting for a psychopathic killer. Several films followed this example, including "The House that Screamed", "What Have you done to Solange" and – not in the least – Dario Argento's "Suspira" and more recent Lucky McKee's "The Woods".

The movie opens with the atmospheric and reasonably creepy murder of a young woman in her bathtub. For whatever motivation, the killer literally parcels up the victim in a suitcase and sends her to a secluded boarding school. Here, we meet a handful of playful and very sexy girls and an assembly of staff members (teachers, headmasters and garden personnel) that all appear suspicious in some way. As to be expected, not everything is kosher in this boarding school. The riding teacher meets up with his favorite pupil in the birdhouse, the overly talkative girl aspires to date the new gym teacher and the gardener is a peeping tom. When girls mysteriously start to disappear and turn up brutally murdered, the experienced police detective Durant has a difficult time getting everyone to fully cooperate with the investigation and tell the truth. The first half hour to forty-five minutes (after the promising intro) admittedly pass very tediously and there isn't much excitement to behold, but at the same time you could also claim director Margheriti takes the time and effort to extendedly introduce all his main characters and make them look extra suspicious. The pacing increases quite a bit around the hour, but sadly from then on the film also becomes very predictable and the climax is even downright transparent. Still, avid Giallo buffs will unquestionably find "Naked You Die" a highly pleasing effort, partly also thanks to the stylish photography, adequate acting performances and the stupendously catchy and rhythmic credit song "Nightmare".

Unlike many Giallo films, Antonio Marghetiti's Schoolgirl Killer hardly features any of the blood, sex and general sleaze that have made the genre famous, and instead puts its focus on the murder mystery and central set of characters. In fact, it's amazing just how restrained this film is, considering that it is set in an all-girls school and how almost every Giallo film with a similar setting takes full of advantage of this. The director does an exquisite job of presenting his story and his setting, and the film features some stunning camera work, which beautifully captures the well designed sets, and the fashion sense of the girls at the college. The film begins with a murder in which the killer strangles a woman and has the body put into a trunk which is then delivered to an all-girls school. Shortly thereafter; Betty-Ann, a student at the school is murdered in the basement, and when another young girl is killed in the shower, the police, led by Inspector Durant, are called in. And they're not the only ones on the case, as amateur detective Jill is also investigating.

It's true that there is hardly any originality at all in the film, and influences range from the obvious films such as Blood and Black Lace, to a certain American classic. This has lead many to call the film tired and unexciting, but I disagree as the relaxed way that the story is told allows the audience to get involved with the mystery, and the comedy elements of the film bode well with all giggling girls school environment. The main problem with this film is that's barely any blood whatsoever, which leaves the murder scenes feeling rather. There are other subplots going on, however - things such as the tentative romance between a teacher and one of the pupils, and Margheriti does well at presenting a whole range of characters, any of which could be guessed at as the killer before the twist ending is revealed. The ending of the film has been used so many times now that it's a cliché, but that aside; it does come as something of a surprise. The problem with the ending, however, is that it basically admits that most of the film has been rather pointless, as there were only two people that needed to be murdered - but Giallo isn't well known for logic, and while this might be derivative, it's still well worth seeing!

There are artists (like Argento)and there are hacks (like Bruno Mattei) and inbetween there are pros like Antonio Margheriti. He could turn out quite competent movies which, although lacking in originality, have a certain verve. This one develops more along the lines of an Agatha Christie effort than anything else, eschewing as it does the supernatural elements of the ostensibly similar SUSPIRIA.

I wouldn't bother with the cut version as it has been trimmed of almost all the nudity and violence, which are pretty much what one watches these things for. What remains are the performances: Michael Rennie fans should beware as he is barely in it, but there is a great (dubbed) turn from Lorenza Guerrieri as Jill, a hyper-imaginative pupil.

For Margheriti fans, I would place this among his dreary late-60s efforts - nowhere near the Gothic elegance of DANSE MACABRE or VIRGIN OF NUREMBERG, and neither coming close to the simple joie de vivre of his 80s movies with David Warbeck.

Margherriti directs a pedestrian giallo in a highly styli-zed way that results in a watchable film that's entirely predictable. Plus, despite the title, there's no nudity and a lot of the murders are stranglings! That's almost as bad as that slasher I watched once where someone was killed by carbon monoxide poisoning!

Following a murder at the start of the film, with the corpse getting dumped into a fancy suitcase, we find ourselves at the Gary Glitter Boarding School for Horny Teenagers, where our group of teenage girls are all into Mark Damon (and he's into them! Ah, young love), or into the new swimming teacher (that's a plot point), or avoiding the attentions of the headmistress, who is into them. Hmm.

Basically, this is about as average as you can get, plot wise, for a giallo. You've got your black gloved killer, the red herrings (especially Luciano Pigozzi as a peeping tom), the sexism, but also great colour schemes, set design, and costume design. I even managed to guess the killer and their motives, which is unusual for me as I'm a dumbass.

Despite all the odds, it's still worth a watch, because Margherriti's no fool when it comes to making film, or you could just wait and watch Seven Death's In The Cats Eye, which has a gorilla as a suspect! You heard me.

While this is quite a popular giallo – thanks largely to its sensationalistic title and the fact that the film was originally conceived, as CRY NIGHTMARE, by Mario Bava – its reputation is rather mixed and, having watched the thing for myself, with good reason! Not only is there barely any nudity (with the violence being similarly tame!) but the plot itself – despite the much-used girl-college setting (among the picture's myriad alternate titles are SCHOOLGIRL KILLER and THE MINISKIRT MURDERS!) – is fairly weak…references to Alfred Hithcock's PSYCHO [1960] and Bava's own THE GIRL WHO KNEW TOO MUCH [1963] notwithstanding or, for that matter, its own affinity with another far superior effort from Margheriti himself, SEVEN DEATHS IN THE CAT'S EYE [1973], and Dario Argento's PHENOMENA [1984])! Besides, the whole giallo atmosphere is further nipped in the bud with an overwhelming light touch courtesy of a vivacious girl student who fancies herself a sleuth! Of course, the script supplies plenty of red herrings – with at least three characters made out to be the possible killer – but the revelation at the climax brings little surprise (while admittedly effectively handled); the attempted murder at the pool, however, is simply ludicrous. The film is nevertheless good-looking, features a kitschy score by Carlo Savina (shamelessly borrowing the instantly-recognizable riff from Neal Hefti's "Batman" theme!) and a reasonable cast – including ex-Hollywood leading-men Mark Damon and a rapidly-aged Michael Rennie (as the Police Inspector on the case), Luciano Pigozzi (the Italian Peter Lorre as the school's peeping-tom caretaker i.e. the type of role he could play in his sleep) and, it goes without saying, a bevy of attractive females, on both the student and teacher fronts – a lesbian undertone is even implied in the relationship between the middle-aged headmistress and her young assistant and a newly-arrived teacher sports androgynous features! – but especially put-upon heroine Eleonora Brown (who had actually been Sophia Loren's victimized daughter in Vittorio De Sica's award-winning TWO WOMEN [1960]!).