One of the most beautiful Italian horror films in lighting and color photography, this is Mario Bava's statement of film less as something literary than it is a visual medium, akin to Michelangelo Antonioni's films that challenged notions of narrative in cinema. The shots look akin to a motion painting, yet it's intentionally absent of story and dramatic emotion. The top-heavy plot still drags often, though.
"The guys of the Cahiers du Cinéma came to me. They wanted to analyze the connection between the plate swinging at the beginning of 'Blood and Black Lace' and the telephone falling to the ground when Eva Bartok dies. I didn't even remember how the movie ended." (Mario Bava)
Cinematographer Ubaldo Terzano and composer Carlo Rustichelli make for a formidable pairing here. The sleazy jazz score is marvelous and compliments Terzano's frames of primary hues perfectly to help create an atmosphere and mood unequaled in the Giallo sub-genre. To criticise the script and the cast would almost seem cynical in this case such is the sensory delights of Mario Bava's dreamy masterpiece.