A young girl is brutally murdered somewhere in France. Sometime later, the same thing happens to the daughter of a well-known sculptor. This time the parents (the sculptor and his wife) start investigating, and soon find they are in way over their head. Meanwhile, the body-count keeps rising as the killer now starts butchering all those who find out too much… —IMDb
Aldo Lado (born 5 December 1934) is an Italian screenwriter and film director. He was born in Fiume, Italy (now Croatia). He wrote 21 films between 1968 and 2004. He also directed 16 films between 1971 and 1994. —Wikipedia
Rewatches lately have been the damnedest thing. The first time I watched this a few years back, I had a really adverse reaction to it. Watching it again on the heels of *Don't Torture a Duckling*, though, opened it up for me in unexpected ways. Lazenby still slumps through the movie like a misfit, and Strindberg's scenes are frustratingly thin, but the collection of characters (and their perverse, interlocking
story) really clicked this time. Like *Duckling*, it successfully pushes at the boundaries of what a giallo can be (and, interestingly, it shares killers with that film too). Also found the opening murder, on through to the "dossier" credits, quite an effective setup for the rest ... also points for the thematic/location overlaps with *Don't Look Now*.
Excellent giallo thriller delivers most everything you'd want from the genre: sharp, stylish filmmaking by director Aldo Lado, a plot full of eccentric characters and lurid twists, beautiful shots of Venice, and all set to an effectively eerie score by Ennio Morricone. A must for giallo fans.
One of the most dreadful giallos I've ever seen. George Lazenby lost 35lbs for the role but I can't imagine why since he only plays a sculptor living in Venice. As a result, he spends the entire film looking sickly and unhappy. Very little violence, lots of 70's-style nudity. I'd like to forget this film if I could.