Liz et Helen

This London-based giallo starts off with a Keystone cops-type sped up car chase that ends with a toy train crashing into a toy car. We shortly afterwards see Klaus Kinski and his wife badly superimposed onto a ski-slope pretending to slide down a mountain. I'm guessing the budget for this one wasn't too high, but at least it lends a daft edge to this film.

Fugly Klaus Kinski isn't too happy that his wife hates him and clearly parades her lesbian lover in front of him all the time, which makes him the prime suspect when the car she's in crashes and explodes. The real question is, Klaus hated his wife, but is he the one that killed her? We follow our subdued Klaus around London as he searches hippy filled freak out dens looking for answers.

It's in one of these stinking holes full of unemployable idealistic morons that Klaus discovers his wife starring in some sort of porno film. Her face is covered, but a scar on her neck and a distinctive ring are enough proof for Klaus. He hooks up with a hippy chick to continue his search and gets a good kicking in a porn studio for his trouble. However, as shifty as Klaus looks, someone else may be up to something - why else would Klaus be being drugged?

We get a calmer Klaus here, but you still get the usual traits from him too - staring, glowering, looking etc. Nothing is quite revealed until the end so feel free to nap through some of the film - I had a feeling I did, and didn't seem to miss anything either. This isn't the best Riccardo Fredda film - If you want giallo, try his incredibly daft and enjoyable Iguana With the Tongue of Fire and if you want horror, my preference is the Ghost. Boob fans however will not feel let down by this one.

In an alternative universe, Klaus Kinski would have been the ideal actor to play Mark E Smith of The Fall.

I fell in love with this movie from its first frame. Or, at any rate, the first BOOM-BANG-CRASH-WALLOP of its fabulously over-the-top piano soundtrack - as if Liberace were stationed just off camera, with blazing gold candelabra and rhinestone-studded Steinway grand. Its visuals are, if possible, lusher than its score. Crystal vases weep rose petals over the photo of a murdered woman. Venetian glass mirrors reflect the elegantly chiselled face of Klaus Kinski - glowering at us seductively over a polka-dotted silk cravat.

If you are used to Kinski hamming it up in a Herzog epic, his role here is a revelation. As a London millionaire who may or may not have murdered his lesbian wife, he is so subtle and ambiguous, so - dare I say it? - restrained that he keeps us guessing right up until the last few seconds. Seeing her 'come back to life' in a porno film (shot after her death) Kinski's face takes on a haunted look that outdoes all his raving, eye-rolling and tooth-gnashing in more famous roles.

Proof, if proof were needed, that director Riccardo Freda was not just a great unsung visual stylist, but a maestro of mood and suspense. Imagine a Chabrol or Hitchcock with the eye of a Renaissance painter, and you come close to the splendours of this film. So exquisite in its visual detail that its minor flaws - i.e. blatantly fake model car wrecks; continuity howlers such as Kinski walking bareheaded through Soho, then sitting in a nightclub with his hat on - simply evaporate before our eyes.

Oh, and I even like the tacky Italian pop ballad that keeps recurring as a 'clue' - to oddly chilling effect. So perhaps I'm just a sucker for this type of film.

David Melville

Surprise! Surprise! There are not many movies where Klaus Kinski doesn´t play a bad guy. This is one of them. And it´s rather twisted. He´s a prime crime suspect, and we follow him solving the case right to a surprise ending. It´s a German Edgar Wallace adaption directed by classic Italian director Riccardo Freda and , yes, it´s a typical Giallo. So I guess all the fans of those "normal" German Edgar-Wallace-Movies didn´t like it very much. It´s only for fans of the director and, of course, the brilliant, astonishing, unforgettable Klaus Kinski.

It has to be said that Riccardo Freda wasn't the greatest Italian director to ever live and, as such, his films don't tend to rank among the best of the genres he's worked in. Double Face is not one of the best Giallo's ever made, though it's a hell of a lot better than Freda's later The Iguana with the Tongue of Fire, and it's a pretty decent genre entry in its own right. As is the case with most Giallo films; the central focus of the plot is on murder, but rather than following a string of murders as many of these films do; this time the focus is on just one murder and the investigation into said crime. The plot centres on John Alexander, a successful business man whose wife just happens to be a lesbian. She is, unfortunately, killed in a car crash towards the start of the film and John then encounters Christine; a sexy and uninhibited blonde seductress who seems to have a keen interest in him. One thing leads to another, and John ends up seeing a blue movie starring Christine and, apparently, his wife! The mystery then builds as John comes to believe that his wife is still alive.

The stand out star of the film is definitely Klaus Kinski. It's quite odd seeing him in this role as I'm so used to seeing him play the bad/insane antagonist, whereas here he finds himself in the hapless victim role. Kinski keeps it together well and while this performance isn't as great as the ones where he gets to go over the top; it has to be said that he gives a solid performance in the lead role. He is joined by fellow German Christiane Krüger, who takes up the role of sexy leading lady well and the central cast is rounded off by Margaret Lee, who appeared in a handful of Giallo's, including Slaughter Hotel and The Killers Are Our Guests. The film is never overly exciting and sometimes it seems too content to just wallow in the plot; but there are some interesting scenes to help fill out the running time. The film is set in London, although it wasn't shot on location and that fact clearly shows. The final ten minutes are the best of the film as the plot finally reveals itself and mostly makes sense. Overall, I cant say that Double Face is one of the best Giallo's ever made; but it's good enough and certainly worth seeing.

There are some cigarettes smoked in this film. In fact, the amount featured might have blown the budget, as some of the special effects are more than a little rough. Not to worry, we have top-billed Klaus Kinski playing a man apparently being driven mad, so we're in for some enjoyably extreme theatrics, surely?

Well actually, no. Kinski is at the most restrained I've ever seen him. That powerhouse of rolling eyes and bared teeth is subdued and on his best behaviour - or as much as you can be given the circumstances. It's strange seeing Kinski in the Edwidge Fenech/Dagmar Lassandra role (Nora Orland's incidental score has definite echoes of his subsequent work on 'The Strange Vice of Mrs Wardh', starring Fenech in the titular role).

A fairly standard giallo, which has moments of great interest - usually involving Kinski.