Excellent, Without a doubt!!

The acting in this movie is really good.

Easily the biggest piece of Right wing non sense propaganda I ever saw.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

I am required by law to mention that this film is similar to Nicholas Roeg's Don't Look Now, made a year later. So that's that out of the way. Who Saw Her Die begins in the French mountains with a red-haired girl being murdered by what looks like an old woman wearing a black veil. We then kick in with Ennio Morricone's outstanding soundtrack made up of a child's choir and harpsichord – a far cry from twangy guitars and harmonicas! I should note here that this soundtrack woke my daughter up and freaked her out from two rooms away! In Venice, skinny sculptor George Lazenby is happy that his daughter Roberta has come from London to visit him, although it's clear by her absence that things aren't going too well with his wife Anita Strinberg as she's stayed behind. Worse still, an old woman in a black veil stalking the kid and seems determined to murder her, which happens while George is banging his mistress. George is distraught and blames himself for his daughter's death, leading him on an obsessive quest to find the killer, which will lead him down sleazy avenues involving the rich and powerful in Venice. This being a giallo, the killer gets wind of this and tries to eliminate some of the witnesses…Even though it's not a top tier giallo, this film is still worth a watch due to the misty Venice location shooting, Morricone's creepy soundtrack, and the acting talents of Adolfo Celi, who here, like in the film Eye of the Labyrinth, can seemingly change his mood and personality with subtle facial expressions and posture. The mystery isn't that hard to solve if you've watched a few of these films, but that's not going to put anyone off, is it?Why are Lazenby and Strinberg so thin though?

Here's an atmospheric little giallo gem which bears many similarities with Nicholas Roeg's classic horror movie DON'T LOOK NOW - the Venice setting, the artistic camera-work, the murder of a child, and the father's obsession with hunting the mystery villain. This time, however, it's not a case of the Italians ripping off an American movie - WHO SAW HER DIE? is the obscure movie that actually came first, and obviously inspired Roeg enough for him to make his movie. The similarities are just too distinct. The Venice locations here are put to excellent use as the camera explores the labyrinthine streets, and there are many tracking shots and aesthetically pleasing images which make it a very beautiful film visually. Even the blood is bright red in colour, which make look fake but adds to the movie's colour palette and at least looks good. All this and an excellent score by music maestro Ennio Morricone, who uses a children's choir to give the film real atmosphere and tension.A virtually unrecognisable George Lazenby (the Australian Bond of ON HER MAJESTY'S SECRET SERVICE) takes the lead role of Franco, the man obsessed with discovering his daughter's killer. As the plot unfolds Lazenby does his bit, putting in a perfectly adequate performance that you wouldn't expect from this much-maligned actor. There's a strong female supporting cast (most of whom go naked at one time or another, as did most in the gialli genre of the period) including Anita Strindberg as Franco's grieving wife, Rosemarie Lindt (who holds the key to the mystery) and many others. Adolfo Celi enjoys himself in a minor part as an upper-crust critic with a dark secret, whilst Peter Chatel is very effective in the part of a sleazy paedophile, a character you can really believe.On the downside, the film is a little slow-paced and lacking in incident, but the top-notch cinematography and Aldo Lado's ultra-stylish direction, you just won't notice. Lado has fun with his mystery killer, inserting lots of point-of-view shots in which the murderer's face is covered by a black veil, an interesting and unique effect. Although the final revelations are quite small-scale (I was hoping for a conspiracy a little wider in reach) there are some fine set-pieces, including a really suspenseful moment in which Strindberg is trapped in a house with whom she thinks is the killer, and a cat-and-mouse game between Lazenby and killers at an abandoned warehouse. Although the identity of the killer is a bit of a letdown, Lado makes up for this by having a great fiery death for the slasher, who stumbles off a balcony whilst burning alive - and just for good measure he repeats the scene over and over. WHO SAW HER DIE? isn't a brilliant work but fans of the genre should be more than happy with this classy little movie.

Aldo Lado is surely one of the most under-rated Italian directors of the 70's. He seems to be relatively forgotten, while several lesser contemporaries get a lot more attention. But whatever the case, Lado was responsible for three excellent horror/thrillers in the mid-70's. There was the nasty revenge thriller Night Train Murders and a couple of gialli - the Prague-set Short Night of the Glass Dolls and the Venice-set Who Saw Her Die? All films were very distinct from one and other and all had considerable style to burn.Who Saw Her Die? is the one which follows the classic style formula of the giallo most closely. In it a serial killer is on the prowl in Venice. Like Nicholas Roeg's Don't Look Now, this one used the crumbling streets of that famous ancient city to great creepy effect. It begins, however, in the French Alps with a nicely atmospheric prologue in which a young child is killed by a black-veiled killer in the snowy expanses. This villain is a very good one and is presented throughout the movie in a very sinister manner indeed, with close-up shots of their shoes as they menacingly advance toward their victims and shots of their obscured veiled face. Additionally this character is accompanied by an absolutely rivetingly creepy Ennio Morricone theme which is a controlled cacophony of a children's choir over a steady beat. It's one of his most memorable individual bits of music and that's saying a lot considering the sheer volume and quality of Il Maestro's output. The cast is solid with George Lazenby appearing in his first starring role following his solitary turn as James Bond in the under-valued On Her Majesty's Secret Service; while he is ably supported by genre regular's such as Anita Strindberg (The Case of the Scorpion's Tail) and Adolfo Celi (Danger: Diabolik).As far as I am concerned, this is an excellent giallo by one of the most reliable Italian directors from the period. It works well as a pretty intriguing mystery, while it delivers the requisite vicarious thrills too. And most importantly it presents these things with a healthy slice of style and verve. Well worth seeing…!

Successful sculptor Franco Serpiere (a solid performance by 007 oneshot George Lazenby, who looks gaunt and worn) and his adorable daughter Roberta (sweetly played by cute redhead Nicoletta Elmi of "Bay of Blood" and "Deep Red") are spending some quality time together in scenic Venice, Italy. Roberta gets brutally killed by a lethal vicious lunatic. Franco finds himself in considerable danger when he investigates her savage murder. Director Aldo ("Night Train Murders") Lado, who also co-wrote the engrossingly dark and complex script, relates the intricate story at a slow, but steady pace, expertly creating a creepy, edgy, yet elegant tone and staging the murder set pieces with impressively grisly and stylish aplomb. Ennio Morricone's supremely eerie and unnerving score makes especially effective use of a ghostly angelic children's choir. Franco Di Giacomo's beautifully crisp and polished cinematography offers plenty of sumptuously smooth gliding tracking shots and evokes Venice in a strikingly misty, breathtaking and atmospheric way. The uniformly fine acting from a sturdy cast qualifies as another major asset, with especially praiseworthy work by Lazenby, Elmi, Adolfo Celi (the Bond villain in "Thunderball") as friendly art gallery owner Serafian, Anita Strindberg as Franco's concerned estranged wife Elizabeth, and Rosemarie Lindt as Franco's lusty lover Gabriella. Excellent zinger of a shocking surprise twist ending, too.