For the uninitiated, the word giallo, which means "yellow," comes from the color of the covers of a series of cheap Italian horror/suspense novels. When some of these books were made into films, the term transferred over, and a cinematic genre was born. Most giallos offer baroque murder-mystery plots, with generous doses of sex and violence. Though the most famous practitioner of the form is Dario Argento, his work isn't really representative of the genre, because he often spices things up with supernatural elements. Most giallos — including the ones reviewed here — are routine but engaging '70s slasher flicks with a bit more panache than their American counterparts. Aficionados will argue differently, and there is due cause to praise various distributors for making these films available, but lionizing these works does them a disservice to those who will wonder what the fuss is about.
Anchor Bay's Giallo Collection — which includes Short Night of Glass Dolls, Who Saw Her Die?, and The Bloodstained Shadow, and a fourth title, The Case of the Bloody Iris, that was unavailable for review — gathers together some adequate examples of the genre, and fans should up my rankings a half a notch or so. Each of the films is watchable and features a terrific score and some nifty moments, with the most memorable being Antonio Bido's Bloodstained Shadow. Prints are of high quality, though the sometimes amateurish dubbing will bother some. Brief summaries of the strengths and weaknesses and information on additional extras follow.
Glass Dolls
Director Aldo Lado's slightly bland first film does have a doozy of an ending and an interesting set-up. With a nod to Sunset Boulevard, the plot involves a corpse named Gregory Moore (Jean Sorel) going back through the circumstances that led him to a mortuary slab. Integral to his demise are a pretty lass named Mira (Barbara Bach), a mysterious wealthy woman (Ingrid Thulin), and a cult of old folks who prey on the young.
The Short Night DVD also features a terrific 11-minute featurette with the director explaining the allegorical significance of the film, why the English title makes no sense, his rapport with composer Ennio Morricone, and more. His filmography and the theatrical trailer are also included.
Who Saw Her Die?
Though it lacks a whopper finale, Lado's second film is slightly better than Glass Dolls. After a brief flashback (a giallo staple), the story moves to Venice, 1972, where young Roberta (Nicoletta Elmi) comes to visit her father, Franco (George Lazenby). When she is killed by a mysterious someone in a veil and heels, it's up to Franco and his estranged wife, Elizabeth (Anita Strindberg), to solve the crime. Who Saw Her Die? offers a creepy score by Morricone and some scary moments, especially at the climax.
Who Saw Her Die features another brief interview with Lado, and he discusses how he came to make another giallo so soon after his first (would you believe it has to do with Marlon Brando?). His filmography and a cool theatrical trailer are also on offer.
Bloodstained Shadow
The longest and most satisfying of the three films is The Bloodstained Shadow, which involves a series of murders that take place on the island of Murano, in Venice. Two brothers, a priest (Craig Hill) and a burnt-out college professor (Lino Capolicchio), try to figure out the who and why of the killings, but only find themselves further haunted by the terrible events surrounding them. Though there are too many plot points explained conveniently and awkwardly, director Antonio Bido builds tension nicely, directs his actors well, and comes up with a logical though hard-to-predict resolution.
As with the other two titles, Bloodstained Shadow has an interview with its maker who clues viewers into his brief appearance in the film, admits to a few mistakes, and discusses the use of famed group Goblin for the score. His filmography and the effective trailer round out the extras.
All of the titles are presented in widescreen and enhanced for 16x9 sets. None of the films are rated, but the sex and violence stays at the R level. For those wanting to expand their giallo knowledge and viewing experience, these three releases are a pretty good way to start. Other recommended examples (most of which are also put out by Anchor Bay) include Don't Torture a Duckling, Blood and Black Lace, A Blade in the Dark, Stagefright, and Autopsy.
— ROD ARMSTRONG
For the uninitiated, the word giallo, which means "yellow," comes from the color of the covers of a series of cheap Italian horror/suspense novels. When some of these books were made into films, the term transferred over, and a cinematic genre was born. Most giallos offer baroque murder-mystery plots, with generous doses of sex and violence. Though the most famous practitioner of the form is