Giallo that looks fantastic but the script could have been better as the clairvoyant heroine could not see the obvious villain when even I could courtesy of bad writing. The ending rip off one of Edgar Allan Poe's better stories too. I wanted to love the movie, but I found it only acceptable.
Strange that the only stupid scene of this film is the close-up of the face of Virginia's mother when she falls from the cliff. Stupid and gratuitous because the movie didn't need such a scene. The rest is a good variation on E.A. Poe's 'The Black Cat' with a great performance by Jennifer O'Neill. Recommended.
Far from a slasher, this film is a tremendous bundle of mystery and suspense. Virginia (the glorious Jennifer O'Neill) has a premonition via a vision of images spawning an investigation into past events, as well as the future. Beyond keeping you locked in suspense, Fulci successfully investigates the power of image association, how an image can trigger sensations, instincts, and always mutating memories. (4.5)
Without lapsing into spoilers, Fulci's suspenseful & unusually restrained giallo effectively plays with self-reflexive notions of perception & the subjective belief that images can change their meaning when divorced from an original context. The film as such becomes a psychological jigsaw puzzle, in which fragments of a narrative slowly take on a more terrifying definition as the true nature of events becomes clear.
Fulci gira un film che è incredibile, chiunque è appassionato del cinema Italiano degli anni 70 sopratutto dei "gialli all'italiana" non può non guardare questa pellicola, forse supera anche Argento. Fulci ci tiene in tensione per tutta la durata del film, che poi si conclude in una maniera incredibile e sopratutto, tutto torna, nulla lasciato al caso o alle sviste, l'unica svista è il non vederne il genio indiscusso
I can see why Lucho consider this one of his finest. Well constructed giallo that manages to pull it's strings while using a super natural premise. So, because our leading lady can see things, the story doesn't have to worry about complicated sub-plots or characters moving around too much. Lucho's direction is sharp, the performances solid and the score low key but effective.
For a Fulci flick, Seven Notes in Black is strangely subdued, and almost totally without his usual penchant for blood, gore, tits, and ass. But this works to its advantage; Seven Notes in Black is easily the maestro's most character-driven film, and the one that bucks his trend of really bad endings. Full Review: http://cinephiledreams.blogspot.com/2013/12/seven-notes-in-black-1977.html
Un thriller magnifico,in cui Fulci mette in mostra il suo talento in un fantastico gioco di dettagli che piano piano tendono a formare il quadro d'insieme.La regia è iper-visibile,con continui zoom e giramenti sempre volti a creare un senso di stranezza,quasi per vivere una dimensione onirica.Attori di spessore,fotografia montaggio notevoli,giustamente citato e omaggiato nel corso degli anni.Grande grande Lucio.4*
Semi-giallo by Fulci. I guess he enjoyed the ending death of Non si sevizia un paperino that he replicated it here. He would also go on to use the Edgar A. Poe wall covering in Il gatto nero, 1981, but to so much more effect in The Psychic. That tale clearly had a great influence on Italian filmmakers. Christ, talk about overkill. But it was absolute tension and perfect use of it by the final 30 minutes. Thrilling!
Seven Notes is a well-plotted thriller, with the thematic touchstones of a giallo (if not the usual pound of flesh exacted by the killer). I was impressed by the relationship-building on display--not something I usually associate with Fulci. Similarly, the central psychic vision, and its exact nature, is unveiled with a deliberateness and precision that results in a satisfying twist (unlike, say, Minority Report).