Excellent, a Must See

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

By the time the dramatic fireworks start popping off, each one feels earned.

Watching it is like watching the spectacle of a class clown at their best: you laugh at their jokes, instigate their defiance, and "ooooh" when they get in trouble.

This giallo features more cigarette smoking than in any other I've seen. Never a scene goes by without someone lighting up, putting one out or going about their business with a casual ciggie clinging determinedly to their lips. Also, as is often the case for this genre, the females are not only the victims, but are also far more decent and respectful than the men – certainly Stefano (Pietro Martellanza) is brazenly patronizing and awful to Valentina (Nieves Navarro, or Susan Scott for English audiences) at every opportunity, and his male co-stars aren't much better. I really hoped I wasn't going to be asked to believe in him as any kind of hero. The best of this rotten bunch is probably Gio (Simón Andreu), another chain smoker notable for constantly running out of matches.Valentina, with her incredible mane of red hair, whilst under the influence of an experimental drug, has a vision of a young woman being brutally murdered by a villainous-looking character with a spiked glove. This shades-sporting felon appears to her from then on, many times. Is it a product of her addled mind, as bone-headed Stefano arrogantly suggests, or is the truth more sinister? One thing is certain – any answers don't come easily in this convoluted, beautifully shot Italian thriller.In a way, you hope that the villain is purely in her mind. The alternative, of a highly suspicious mac-wearing effeminate looking man in outsize sunglasses always lurking in an almost pantomime manner, not being seen by anyone but Valentina, becomes absurd.Also absurd, in a thoroughly appealing way, is the somewhat formulaic way the villain (or villains), when unmasked, then take the time to gloat and explain how they got away with their fiendish plan. Here, these revelations precipitate a glorious climactic physical fight that only ends after a series of last-minute, life-saving shocks and surprises.A little slow in places, and possessing some appallingly chauvinistic behaviour, this is nevertheless great fun and another pleasing addition to the genre.

(This review is of the box set of two Luciano Ercoli films, DEATH WALKS ON HIGH HEELS and DEATH WALKS AT MIDNIGHT) This box set from Arrow Film combines two films by director Luciano Ercoli, an Italian director with little output in that role and only double that as a producer. While his output wasn't significant the quality of these two films shows much potential and the fact that had he chosen to do more he would have left a larger legacy behind for others to follow. As it is, both films offer well-made giallo films that fans of the genre will want to add to their collections.The first of the two is DEATH WALKS ON HIGH HEELS and is the better of the two films. The film stars the director's wife Nieves Navarro as Nicole Rochard, a well-known and much sought after striptease artists in France. Nicole's father was a renowned jewel thief and when he's killed someone calls her asking if she has his last score, something she knows nothing about.A fan of Nicole's, Dr. Robert Matthews, attends nearly every performance she has no matter where she's working. After Nicole has an argument with her boyfriend over his drinking due being jealous of her success, she finds friendship and love in the arms of Matthews. After a quick romance heads home to England and she accompanies him. He sets her up in a house in the country, a place his wife knows nothing about. With promises of leaving her to set up his own practice, things begin to happen.Murders of various side characters occur with startling frequency. An attack on Matthews happens, his wife the main suspect. Nicole's boyfriend shows in England trying to find her. And a twist near the middle of the film comes completely out of nowhere and sends the film off in a new direction. While this may seem like a brief synopsis to reveal any more would be to spoil the surprises the film has in store.The movie works best as a mystery with clues being presented for the viewer to decipher but all doesn't become clear until the end of the film. What makes it work is that they all make sense and were there for the most part to be seen throughout the film. What makes it even better is the fact that even the most jaded mystery fan might have a difficult time knowing who did what to whom, something few mysteries can accomplish these days.The second film, DEATH WALKS AT MIDNIGHT, once again stars Navarro this time as super model Valentina. Valentina tries an experimental drug in the presence of a reporter friend and while on the drug sees images of a murder taking place. The fact she took the drug ends up in his article and she loses work because of it. It also discusses her visions and suddenly she begins seeing the murderer tracking her. When he makes an attempt on her life, only she has seen him. Is there someone out to kill her or is she simply hallucinating it all? Characters appear for no reason with no background only to take center stage at various parts of the film. As viewers even we aren't sure of Valentina's mental state at first. While the film starts with a decent premise it becomes a "are you kidding me" film as stupid decisions are made from start to finish. An example is, after having been attacked by someone she doesn't see, Valentina is asked to get in the car of a woman she has never met to talk and go for a drive. Not the smartest thing to do. When the woman abandons her in a mental institution where the convicted killer of the victim she saw in her drugged state is at (who is also supposed to be the sister of this woman), Valentina leaves only to go with the same woman to another location later on. With enough moments like this the movie became frustrating for me as a viewer.But good or bad the main thing here is that two movies that may have been lost to the world have been rediscovered and brought out in the best possible transfer possible. Arrow once again goes above and beyond to deliver a package that fans will clamor to and others may want to see to get a taste of what giallo is all about, if for no other reason than the first film. Both display great cinematography that I've not come to expect in Italian made films from the time. Another plus.Keeping in mind that this is an Arrow Films release you know there will be plenty of extras on hand for those that enjoy them. Included in the box set is a limited edition 60 page booklet with writings from authors Danny Shipka, Troy Howarth and Leonard Jacobs, all non-fiction writers about the giallo genre, that includes stills and posters for both films. For the first film you'll find extras like an introduction by screenwriter Ernesto Gastaldi, an archive interview with Ercoli and Navarro, an interview with Gastaldi, an interview with composer Stelvio Cipriani, the original Italian trailer and an English trailer. On the second film you'll find another introduction by Gastaldi, an audio commentary track by film critic Tim Lucas, and extended TV version, an interview with Gastaldi and a visual essay by Michael Mackenzie discussing the collaborations between Ercoli and Navarro.Fans of giallo will find this a must have. The same for collectors of Italian cinema of that time period. Fortunately for both, Arrow Film has done a marvelous job on this one, making it one worth owning as well as worth watching for those new to the genre.

Valentina, a beautiful fashion model, takes an experimental drug as part of a scientific experiment. While influenced by the drug, Valentina has a vision of a young woman being brutally murdered with a viciously spiked glove. It turns out that a woman was killed in exactly the same way not long ago and soon Valentina finds herself stalked by the same killer...We should note that other than the lack of Frank Wolff, this film very much has the same cast as "Death Walks on High Heels". In fact, this was the third collaboration between director Luciano Ercoli and legendary screenwriter Ernesto Gastaldi. This makes the similar title appropriate, and even more appropriate still that Arrow Video has decided to bundle the films together."Midnight" draws inspiration from Mario Bava's "Girl Who Knew Too Much" (and both would be precursors to John Carpenter's under-appreciated "Eyes of Laura Mars"). Another scene is clearly an homage to Hitchcock's "Rear Window". Tim Lucas points out that this further makes the case for Ercoli being the Italian Brian DePalma, as DePalma is seen by many as the American successor to Hitchcock.Lucas notes that the film unusually "visually conservative" for a giallo, due very much to Ercoli's preference for script over image. Lucas calls him a "carpenter" in his approach. Indeed, it is interesting to see how Ercoli works compared to, say, Dario Argento, who filled every inch with color. Ercoli, who was above all else concerned with producing, keeps it all very simple, very sparse. this is not to say he is without the clever shot here and there, but it is not the visual feast we might expect.Stuart Galbraith has written that Midnight has "a stronger, less-predictable screenplay and a bit more visual flair" than its companion film, High Heels. I would say he is spot on with this assessment. Although both are great films, and High Heels probably has the better killer and soundtrack, Midnight seems to be overall the stronger of the two and has more complex characters.Arrow Video has blessed the genre community yet again with their Death Walks twice set. As noted in my separate review, "Death Walks on High Heels" is packed with extras, and so is this one! Another very informative Tim Lucas audio commentary really sells it for me, but we also have a brand new interview in which Gastaldi discusses "Death Walks at Midnight" and a career script-writing crime films. Oh, and a visual essay by Michael Mackenzie exploring the distinctive giallo collaborations between director Luciano Ercoli and star Nieves Navarro. Amazing!

The third of Luciano Ercoli's trilogy of early 70's gialli is the oddest of the three. It tells the story of a fashion model who takes a hallucinogenic drug for a photo shoot. While tripping she witnesses a murder in the apartment across the street. She then finds herself stalked by the killer and drawn into a complex web of shady goings on, including drug trafficking and murder.This movie is quite disappointing when compared to its predecessor, the effective Death Walks on High Heels. However, it starts extremely well. The trip murder sequence is well handled. Its both visceral and dreamlike, with a memorably creepy looking killer. Unfortunately, this excellent opening is the highlight of the movie. There are a number of other effective set-pieces but the movie gets bogged down a bit with excessively convoluted plot lines. There is a large cast of characters and it becomes difficult keeping track of who did what where. Everything is wrapped up when most of the remaining cast members get involved in a ridiculous, but fun, fight on a rooftop.This is not a great giallo, however, it is certainly likable. Susan Scott is, as ever, great value in the lead role. She carries the film through the less interesting phases, ensuring that things never really get boring. Simón Andreu also is reliable. Ercoli shoots the film well and the decor is impressive. Overall, this is a beautiful looking, well acted but somewhat silly giallo. Its not one of the best from the genre but it is fun in a camp sort of way.