A Black Veil for Lisa

A Black Veil for Lisa is one of the earlier films in the Giallo cycle, and has taken much of its influence from the film noir style of film-making. Directed by Massimo Dallamano, the man behind the unofficial 'Schoolgirls in Peril' trilogy, the film is often seen as trash; but personally, I couldn't disagree more. With this movie, Dallamano takes us on a roller-coaster of emotion and the director does an excellent job of setting out the characters, their situations and motives; which is a great benefit to a film that is very much character driven. The twisted plot emerges from the character's flaws, and follows the themes of jealousy, love and revenge. We follow Inspector Bulov; a man on the case of a murderer that is leaving a trail of bodies in his wake. He polices the streets and also his wife; the buxom and beautiful Lisa. Our leading man has a few years on his beautiful other half, and this combined with her character has lead him to relentlessly follow her every move, even to the point where it interferes with his work. And to say any more about the plot, would spoil the film!

A Black Veil for Lisa benefits from a trio of great central performances. John Mills gives it his all in the lead role, which sees him looking and acting the part of the jealous husband brilliantly. Mills also brings a distinct British style to the picture, which lends it a classy feel which is unlike other Giallo films. The title role is taken by former Bond girl Luciana Paluzzi, and while she isn't given too much time to shine acting wise; she looks the part and brilliantly offsets Mills' leading performance. Robert Hoffmann rounds off the central cast in the role of the murderer, and while he looks a bit too polished to viciously commit murder, his good looks serve him well after the first twist has been dealt out. This Giallo is unlike others in that there is no mystery surrounding the identity of the murderer; and the focus of the movie is always on the relationship between the central characters. The order of priority regarding this is shown brilliantly by the dubious way that the identity of the killer is revealed; it's not very realistic, but it does relate to the character - and this film is all about its characters. Overall, A Black Veil for Lisa is a great Giallo and one that I hope gets a decent DVD release soon so more people will be able to see it!

This film operates not as a thrill machine, but as a meticulously arranged character study wrapped in the expensive veneer of a crime picture. Robert Hoffmann's performance as Sexy Max is the gravitational center, the unquestionable highlight of the production; he channels a dangerous, charismatic energy that immediately captivates the viewer. His portrayal is a captivating blend of suave arrogance, deadly efficiency, and detached professionalism, which makes the audience actively root for the killer over the wildly incompetent and self-destructive detective pursuing him. Luciana Paluzzi, though often underused, ensures her Lisa is never simply a victim or a cipher, lending the character a cool, calculating intelligence and goddess-like aesthetic that defies the narrative's attempts to box her in.

The pace is certainly deliberate, often feeling "leisurely" when compared to the high-velocity, visceral giallo entries that would soon dominate the genre. This slower rhythm, however, is a choice, allowing the toxic and convoluted relationships to truly simmer, building a unique tension rooted in psychological decay rather than simple jump-scares. Dialogue successfully conveys the creeping moral rot of its central players, particularly the increasingly unhinged Bulon, making his downfall entirely earned.

This picture is undeniably well-shot, featuring the polished visual signature of Joe D'Amato, a cinematographer whose talent is clear and refined here. Craft is prioritized; the cinematography emphasizes clean lines, controlled lighting, and visual texture, creating an atmosphere of sleek, expensive crime. Production design favors modernist European spaces and stylish, era-defining costuming, framing the action with cool detachment and sophistication. The overall soundscape underscores a pervasive noirish mood, never succumbing to overly dramatic musical cues but instead letting the polished surfaces reflect the dark intentions lurking beneath.

One visually arresting moment involves the extreme close-up framing of Bulon's paranoid gaze, often reflecting his distorted face in glass or metal, which expertly communicates his rapid descent into destructive obsession. Another standout sequence is the initial, charged meeting between Max and Lisa; the scene subtly vibrates with unspoken desire, manipulative intent, and mutual acknowledgment, immediately elevating their dynamic above a simple affair and setting the true, romantic conflict in motion. Hoffmann's smooth, self-assured killer, swanning around in his gorgeous tan leather trenchcoat and rollneck sweaters, feels like a stylish precursor to the morally flexible anti-heroes found in 1970s European cinema, embodying that dangerously charming prototype. The film's overall preference for psychological drama over visceral excess aligns it more closely with the sophisticated, character-driven Italian crime thrillers, such as the foundation works of Elio Petri, than the full-blown, graphic excesses of later genre directors.

Viewers craving extreme gore, complex, rapid-fire plot mechanics, or the breakneck pacing typically associated with classic giallo may find this experience challenging; the film simply does not operate on pure shock value. However, those who appreciate stylish 1960s European crime thrillers, character-focused dramas built on moral ambiguity, and strong, deliberate cinematography will connect deeply with this film. It is a rewarding, handsome watch for cinephiles interested in the foundational stages of the Italian genre movement, appreciating the film's undeniable visual polish, its confident style, and Hoffmann's captivating presence.

German-Italian Giallo with Luciana Paluzzi and Robert Hoffmann

Inspector Franz Bülow (John Mills, 1908-2005, who was often cast as the husband of much younger women in those years) investigates a mysterious series of murders in his native Hamburg, in which a killer with black gloves is up to mischief. He is played by Robert Hoffmann, who was born in Salzburg in 1939 and got his start in the Roman film industry after the West German shocker "Again the Ringer".

But back to the plot of the film: In his private life, the aging inspector is a real lucky guy. He has recently been married to the beautiful Lisa (Luciana Paluzzi / who was born in Rome in 1937 and remains the most beautiful Bond villain since "Thunderball"), who is also a lot younger than her husband. He is driven by jealousy and mistrust. He constantly controls his wife - out of fear that she might cheat on him. Paranoia taken to the extreme leads to an unforeseen discharge...

Death knows no gender, according to the original Italian title, is a masterful game of confusion by Massimo Dallamano, which was released in cinemas by Titanus. Beautiful images of Hamburg in the late 1960s are contrasted with black gloves and yellow tulips.

The effects of hashish consumption are also translated into images and blur the boundaries between delusion and reality.

Elements of the crime film, the giallo and the relationship drama are mixed together. Great filmmaking and excellent actors make this film an enigmatic pleasure.

Massimo Dallamano made the great Bandidos and the also great What Have You Done To You Daughters, but here takes things a bit too laid back and therefore we end up with an okay giallo that could have used a nice kick in the arse plot wise.

It's still interesting enough, mind you. You have a detective (the almost immortal John Mills) who is investigating a series of knife murders in Hamburg (this is where the black gloved killer comes in and this isn't the last giallo set in Hamburg either). The problem is, the detective has this young, hot, young, hot, sexy, young, mysterious, hot, young, tepid, young, hot, young wife who had possible links to a criminal past but the detective's totally over that and he's only phoning her a hundred times a day to see if she needs milk, right?

So we move from the giallo that has the 'who is the gloved killer?' plot to that other kind of giallo - the kind where you have no idea what everyone is up to until the last ten minutes. Most of the time those turn out to be the more entertaining giallo but we have just a bit too much in the old dialogue stakes here and less on the actual action.

Still, Dallamano's skills as a cinematographer shine through nice and bright, but for some reason the sleaze that sticks to his other films is missing here. It's still worth tracking down but isn't any lost classic or anything.

"A Black Veil for Lisa" is a decent mystery/thriller with a lot of mysterious murders and combining the elements of intrigue with drama , shocking scenes , jealousy , plot twists and a pretty unexpected, unpredictable conclusion . Atmospheric and oddball Giallo with chilling frames , twisted scenes , taking place cruel killing s , and confusion around a really jealous hubby . This is pretty entertaining stuff deals with a commissioner , Inspector Franz Bulon (John Mills) , a tough narcotics detective who's attempting to find out a series of grisly murders , while bring down a major drug syndicate in Hamburgo town . But Bulon results to be also a possessive husband who hires a murderer (Robert Hoffmann) to kill his unfaithful wife Lisa (Luciana Paluzzi) , but the hunter and the hunted soon begin an affair . However, every time Bulon gets close to a potential informant , the said person has a nasty knack of turning up dead . Bulon's superiors are concerned that his mind doesn't seem to be on the job due to he is being thwarted at every turn . And to a high degree they're alright , that's why Bulon is so preoccupied with keeping tabs on his spouse that he isn't keeping on top of the rest of his work . He also believes that she is having an affair , and is plagued by thoughts of her with other men . He also suspects his spouse Lisa of sabotaging a big narcotics case he's working on . White veils for angels...

An attractive Giallo that focuses on police procedure with usual investigation over the usual murder-mystery antics as well as the dramatic events about a jealous husband . A mystery/thriller in which the starring leading to the edge of sanity and extreme violence , resulting in unpredictable consequences , including spine-tingling intrigue , thrilling events with plenty of shocks , deliciously twisted happenings and brief touches of erotism with brief nudism . Suspenseful and interesting screenplay with mysterious events written by Giuseppe Belli , Vittoriano Petrilli and Massimo Dallamano himself . Although there are various incidents that defy belief , filmmaker Dallamano does a competent work of keeping pace and tension cranked up . Makes for some pretty intriguing and suspenseful moments that somewhat make up for the weak climax . Good film with Giallli overtones and surprising intrigue being well proceeded here and there , along with an unbearably tense in charge of the three adequate protagonists giving top-notch interpretations . Stars the veteran John Mills who gives a terrific acting as the obsessed , abussive usband , the handsome Robert Hoffmann as a tough hit-man , he also starred another good Giallo : Naked Girl Murdered in the Park (1972) and the extremely gorgeous Luzziana Paluzzi of Thunderball. Being an Italy/West Germany co-production shows up secondary actors from both countries , such as Renata Kashe , Carlo Hintermann , Tullio Altamura , Enzo Fiermonte , Jimmy il Fenomeno , among others .

It contains an atmospheric and evocative musical score in the Sixties style from Giovanni Fusco , Richard Markowitz , Gianfranco Reverberi , adding the catching song Melodie de Lisa Words and music by Alan Gordon and Gary Bonner . Here stands out the colorful and brilliant cinematography by Angelo Lotti with a well remastered copy .The motion picture was competently written and directed by Massimo Dallamano or ¨Max Dillman¨ who previously photographed ¨Fistful of dollars¨and ¨For a fistful dollars more. Dallamano managed to make a fluid , witty and agreeable Giallo . He also proved his experience in thriller and other Giallo movies , such as : "What Have You Done to Solange?" , "The Cursed Medallion" ,¨Portrait of Dorian Gray ¨ ,"Colt 38 Special Squad" , "Mafia Junction" , "What Have They Done to Your Daughters?" or "The Coed Murders" , among others . Rating 6.5/10. Well worth watching . The flick will appeal to Gialli fans.