L'arma, l'ora, il movente

Pros: Good characters and acting. Nice small town setting. The story feels unique with a male priest being the primary victim that starts off the body count.

However, if you've seem a number of giallo, you'll be able to figure out the culprit pretty easily.

Music is good here - especially the closing theme.

Cons: The pacing is quite slow at times. It takes like a half hour to get to the first murder. It has a low body count as these films go. There are a bunch of red herrings that are clearly added just to try and distract you, and they were too obvious to the point that it felt like they were just filling space.

At the end of the day, this is a unique giallo that's worth a watch.

Eureka! What a wonderful feeling when realizing that, after having seen more 150 Italian Gialli varying from absolutely brilliant to terribly awful, there are still great gems out there for me to discover! "The Hour, The Weapon, The Motive" is not your typically textbook Giallo, because of its unusual setting and only a limited number of murders, but it contains enough highlights and ingenious twists to appeal to fans of the genre, and admirers of sleazy Euro-exploitation in general.

The plot introduces priest Don Giorgio, who obviously chose the wrong profession. He's handsome and a bit wild, and he certainly doesn't mind a bit of smooching with two gorgeous ladies that also work as volunteers in the nuns' convent/boarding school where he teaches music. But Don Giorgio gets ashamed of his sinful behavior, and after another session of self-flagellation, he decides to devote himself to God again and terminate both his affairs. Shortly after, though, is brutally stabbed to death inside the convent. Who's the killer? One of his ex-mistresses? Their husbands? A jealous nun? A young orphan boy who lives in the convent may have witnessed something, but he doesn't speak. The rebellious Commissioner Franco Boito must resolve the case, but he falls head over heals in love with a suspect with the lovely name Orchidea.

"The Hour, "The Weapon, The Motive" is a slow-paced but intriguing thriller that remains mysterious and unpredictable, and this despite the relatively low number of potential suspects. Writer/director Francesco Mazzei, who's completely unknown to me, compensates for the shortage of clues and body count by inserting a couple of bizarre gimmicks; - most notably a jaw-dropping scene in which all the nuns at the convent undress and flagellate themselves for several minutes, and this supposedly to redeem the deceased Don Giorgio of his sins. Really odd, and strangely enticing. The trick with the key and the rope (you'll see) is pure Giallo-gold, and the ending is also marvelous. The one thing I regret most is that Mazzei didn't opt for a juicier and more flamboyant title. I would suggest "Eight-hundred Lashes for a Murder" or "Death to the Sound of a Bouncing Marble".

A young clergyman, Don, has had two loves, and now he chooses one of them, Julia, as his only one lover. But soon Don is found dead in the chapel. And there is a witness, Felcio, who tells almost nothing about the murder to the police. But the murderer continues to take people's lives, and finally Felcio decides to inform of the very secret of the first murder... This is a typical Giallo film with good music by Francesco De Masi. The problem is that he does better jobs in other films. Indeed almost everything about this film seems to have average quality and therefore I have almost nothing say about it. Still it can be said that the story itself, which is nether complex nor confused, has at least one interesting side. Person like the first and leading victim, Don, is immoral. And killing the immoral person is much more immoral. But not revealing those immoralities is immoral? Or is there clear distinction between killing and letting-die? Although this film as a whole is not a moralistic one its religious and/or philosophical side, which seems to support the classic claim that there can be a deductive proof that the God does not exist based upon the existence of the evil, is rather unique and therefore can be interesting.

It must be deliberate this the colour scheme in this film is so muted - everything's beige, brown or grey. Strange.

The story involves the murder of a Hip Priest. In fact, he's so hip he has not one but two lovers on the side. He's having a bit of a crisis about that though, judging by the way he self-flagellates in his church, of an evening. This is made even more disturbing by the unseen presence of a little kid whom the nuns have adopted.

The priest reckons that God might look down on him having it off with two ladies, so he breaks up with one of them (with the strange name of Orchidea) and tries to break it off with the other. I can't remember if he was successful because he ended up in the sack with her, before shortly getting stabbed to death by a mystery assailant. There's also a cute nun kicking about (the actress playing her is called Claudia Gravy - great second name! Looks like she's in Nun and the Devil too!)

Some rough looking copper turns up with a bumbling sidekick and they start obviously digging around to looks for clues. The copper also starts spending a lot time making goo-goo eyes at Orchidea, so quite a bit of the plot is devoted to that too. The most off-putting thing about this is that the actress who plays Orchidea is a dead-ringer for Italian actor Franco Rassell (only with hair), which makes all her upcoming nude scenes a bit disturbing.

Not quite so quirky as other Gialli, this one concentrates on the police investigation (before turning into a family drama near the end!), and if you're out for sleaze you do get to see the nuns taking a shower AND the whole bunch of them stripping to the waist and whipping themselves in honour of the dead priest.

It another well made film but will kind of get lost in the avalanche of more gory, pervier gialli released in 1972. I did have a good laugh at the punch up the copper had in a dark room, only for him to find out it was his sidekick, whom he then tells to feck off!

"The Weapon, The Hour and The mobile are the 3 most important things you need to know about a murder" say Renzo Montagnani. It's also the title of this classic giallo.

It's not a revolution of the genre but a classic expression of what a good suspenser must be. No crazy & wild camerawork but a genuine suspensful screenplay, with sharp dialogues & excellent, coherent and plausibles twists. Where directors such as Umberto Lenzi who rather play upon the incredible twists & turns a giallo is supposed to bring then on flashy camera angles, Francesco Mazzei choose the simple way.

Discreet yet precise camera work, less murders and actors than usual but a gloomy script revolving around a priest having two affairs at the same time with two women. When he decides to stop both, he gets killed in his church.

The cleverness of it all is in the way the script chooses to focus on the relationships between the characters than to elaborate murder after murder. The tensions between all of them are more visible than usual. At the same time, it also shows the private life of the detective investigating the case. Disenchanted but always professionnal, he gives some touch of humour which always hit the mark.

Some scenes ar quite surreal & nightmarish as when the nuns decide to expiate the crimes the priest committed before he died. They just whip their bare back with screaming preys til they faint. Just incredible. the other FX are very effective and the murders scenes look impressive : master Carlo Rambaldi (King Kong, ET) did it again.

The actors are all first rate : Renzo Montagnani proves he really can act, Eva Czemerys is always as magnetic & mysterious than in Giuseppe Bennatti's poor L'ASSASSINO HA RISERVATO NOVE POLTRONE and Bedy Moratti shows some incredible capacity to be both & strong at the same time in one single scene. Amazing actress.

L'arma, l'ora, il movente is a superior giallo in quality. Sleaze addicts & euroschlockers will be disappointed but movie buffs will certainly go for this very entertairning and chilling suspenser til the very end.