Death Smiles on a Murderer

Joe D'Amato gets a hard time for being a trashy director due to those porn films he made, but he often delved into other genres, and when he got them right, he often blew away the competition. This film, his official debut film (as he did a few Bava-style completion jobs for other directors) is a crazy mix of Gothic Horror and Giallo, and it's a beauty. Also, some people call it confusing, but it's not at all.

At first we see brother Luciano Rossi lamenting the death of his sister Greta, plus we also get a flashback that shows that the relationship was a bit...er...intimate. Next thing you know, Greta's alive and getting involved in a carriage crash outside one of those huge mansions you get in 99% of these films. She's taken in by a sister and brother and examined by doctor Klaus Kinski. Now, Kinski is freaky enough looking, but when he leans over Greta all his veins stick out on his head, and he looks like a Klingon! I digress - Klaus finds a weird necklace on Greta, takes a pin and sticks it through her eyeball, and then leaves, thoughtful. Greta strangely shows no affects of having a pin shoved through her eye and sets her sights on bedding both the brother and the sister.

Around this time it appears that Luciano Rossi is kicking about stalking a member of staff at the mansion who receives a very gory shotgun blast to the face. Yes, someone is out to kill everyone, but is it the creepy butler guy who is spying on everyone? Or the jealous sister, who tries to drown Greta in the bath, then beds her. It's not Klaus Kinski though, because he manages, using something on that weird necklace Greta had, to create a formula that can bring the dead back to life, which not only gets him killed by a mystery person, but also his assistant, and the poor corpse he brought back to life!

I'll stop there with the plot, because what first appears to be a kind of period Giallo ends up being far more sinister. It's like Joe D'Amato thought the genre wasn't strange or gory enough, and packs the film with people with their guts or brains hanging out, others nailed to walls, having their faces slashed to ribbons, or having their eyeballs pulled out by a cat. Being Joe, he doesn't skimp on the sex either, as Greta gets it on with just about everybody. You also get two creepy actors for the price of one, with Kinski and Rossi getting their own space to roll their eyes and be weird. Giacomo Rossi-Stuart looks depressingly aged in this film for some reason.

So once again Joe comes out on top like he did later in the post-apocalyptic genre with Endgame and 2020:Texas Gladiators, and the classic video nasty Anthropophagus. Maybe not so much with Ator The Fighting Eagle, which is a PG rated Conan rip-off that is great for all the wrong reasons.

Joe D'Amato is often said to have directed nothing but worthless sleaze, but this reputation is certainly not (completely) justified. I have personally been a fan of the prolific Exploitation filmmaker for years, and though it is true that his repertoire includes a wide range of crap, he is also responsible for several downright great films, and for many vastly entertaining ones. Such as the ultra-gruesome video nasties "Antropophagus" (1980) and "Buio Omega" (1979). Or this stylish little film, in which D'Amato dabbles in the great sub-genre of Gothic Horror. "La Morte Ha Sorisso All Assasino" aka. "Death Smiled At Murder" of 1973 is a stylish, obscure and incredibly atmospheric Gothic tale that is incredibly creepy at times. Even though this is not as nauseating as "Antropophagus" or "Buio Omega", the film is genuinely nasty at times, with a wide range sexual intrigue and perversions as well as a bunch of very gory scenes. The film's arguably greatest aspect is the mesmerizing score by Berto Bisano, which contributes a lot to the film's uncanny atmosphere. The casting of the always-sinister Klaus Kinski in the (sadly small) role of a mad scientist is another highlight that makes this a must for my fellow Italian Horror lovers.

The one weak point of the film is that the story is a bit too confused for its own good. I love convoluted plots, but this one has several huge holes. A proper description would be difficult, as the film handles several topics that are interlaced, and the structure is not always 100 per cent comprehensible. Set in early 20th century Europe, the film is basically is about an ancient Incan formula, which is capable of awakening the dead. A beautiful young woman (Ewa Aulin) is injured in a coach accident near a castle that leaves the driver dead. The castle is owned by a kinky aristocratic couple, Walter Von Ravensbrück (Sergio Doria) and his wife Eva (Angela Bo). The mysterious beauty who cannot remember anything after her accident is first checked by the (equally mysterious) local Doctor Sturges (Klaus Kinski)... A macabre Gothic tale, the film also bears some elements of the Giallo and Zombie genres but it is mainly in the style of 60s Gothic Horror, transformed into a nastier and sleazier 70s style. The great Klaus Kinski (one of the greatest actors ever, in my opinion) gets top billing, but, sadly, little screen time. The man gets the best out of the screen time he has though, he simply was one of the most brilliant actors ever to play madmen. Although not as constantly sleazy as many other D'Amato outings, the film provides female eye-candy. The female cast includes beautiful Ewa Aulin in the lead and the equally sexy Angela Bo. The performances are generally quite good, other than the Kinski and the two leading ladies, the cast also includes two other cult-actors that any fan of Italian genre-cinema will recognize: the hunchbacked Luciano Rossi, who, due to his ugly looks, would mostly play crooks and psychos, who plays another demented role here, and Giacomo Rossi-Stuart, who is probably best known for his role in Mario Bava's Gothic masterpiece "Operazione Paura" (aka, "Kill Baby Kill") of 1966. Overall, "Death Smiled at Murder" has only one major flaw, which is that the storyline is too co fused. Otherwise, this is a creepy, atmospheric and vastly enjoyable Gothic tale from D'Amato that lovers of Italian Horror should not miss! My rating: 7.5/10

'Death Smiles on a Murderer' is a 1973 horror/giallo hybrid with a rich gothic setting bathed in an unnerving dreamlike atmosphere with stylish set-pieces, a non-linear storyline that's both confusing and intriguing at the same time. The camerawork has a lot of cool yet bizarre shots which adds more to the strangeness of this flick and the direction by Joe D'Amato is really strong with stunning cinematography work which makes every scene pop in the way it should.

The plot set in the early 1900's where a mysterious young woman Greta (Ewa Aulin) whose carriage crashes outside the Ravensbruck mansion and not remembering who she is, is soon taken in by the wealthy couple Mr & Mrs Von Ravensbruck. Soon the three of them enter into a dangerous love triangle, and soon it is revealed that Greta is there to take revenge on the family as the plot further unfolds.

I do admit that if you don't read the plot synopsis before watching this movie, then things get's really confusing due to it's oddly structured storyline that jumps around a lot with quickfire pacing that could allowed more time to breathe which makes the whole thing rather uneven as a whole. But there's enough thrills and surprises to keep you interested throughout with effective set pieces and a great cast of characters thrown together in this rather strange and unique world.

Ewa Aulin is fantastic as Greta who has a wonderful alluring quality to her mysterious character and Klaus Kinski is another firm standout as the mad scientist and gives a wonderfully creepy performance, and actually wanted more of him throughout, but the interesting subplot was cut rather short. Luciano Rossi as the brother Franz is quite effective and terrifying in his short screen time yet makes a firm impression.

Overall 'Death Smiles on a Murderer' is a pretty decent flick with an unusual structure that may not appeal to everyone, but it's an okay effort all round.

This movie seems interesting on paper: it's directed by the infamous Aristide Massacessi (aka Joe D'Amato) and it features overly intense German actor Klaus Kinski and Swedish nymphet Ewe "Candy" Aulin. But fans may find D'Amato being a little too classy, Kinski being a little too subdued, and Aulin being a little too dressed. This movie is a latter-day Italian Gothic but it was made at a time when those films, which had been big in the 60's, were in decline and the more delirious Italian gialli were ascendant. This film is a strange hybrid of the two--it has the period trappings of a Gothic horror but makes even less sense than your average giallo.

The plot (if that word applies here)involves two different doctors who seem to be reviving the dead for some reason--or are they? (I'm not being mysterious here--I really don't know). One of them is Klaus Kinski, but I suspect the famously temperamental actor might have stormed off the set so they gave part of his role to somebody else. Ewe Aulin is the dead(?) woman who seems no worse for wear. After her carriage crashes on the estate of a nobleman (who coincidentally is the doctor's son),he and his wife take her in and they both fall in love with her. The wife, however, is very jealous (although it's not clear of whom) and keeps trying to kill this possibly already dead girl. After an unsuccessful bathtub drowning (which naturally turns into a steamy lesbian sex scene) she seals her in a tomb with the family cat (for yet another Italian homage to Edgar Allen Poe) before the movie sinks completely into incomprehensibility.

This film resembles other latter-day Italian gothics like "The Devil's Wedding Night" (with Rosalba Neri) or "The Night Evelyn Came out of the Grave" (with Erika Blanc). I would have preferred Neri or Blanc to Aulin in this kind of movie--they all look good naked, of course, but Blanc and Neri are a lot better in these evil roles. The cinematography here is definitely superior to the other two films, however, and is the best thing about this movie (it's easy to forget that D'Amato was a superb cinematographer before he became a world-renowned pornographer). Fans of virtuoso cinematography, non-linear Eurohorror, and badly-dubbed Eurobabes, who aren't bothered too much by a complete lack of plot will probably like this. Others may not.

You have to see this movie more than once to understand and figure out what's going on.In short,after being reanimated from the dead,Greta Von Holstein(Ewa Aulin)seeks revenge on a lover who jilted her by faking a carriage accident and causing the death of its driver on the estate of the son of the man who impregnated her.She is in cahoots with the butler of the estate,who helps with a lot of her dirty work(then meets his end after she uses him).A doctor(Klaus Kinski)finds out her secret after ministering to her after the buggy accident and copies an Incan formula off of her gold pendant for his own use and fame.The pendant was made for her by her brother(with whom she had an incestuous relationship with)who brought her back from the grave after a miscarriage and inscribed her name,the year of her rebirth,and a mathematical formula for reanimation on the pendant.Greta causes the death of almost everyone in the cast,but you won't really understand anything until about halfway through the movie.And she makes sure no one is left to tell her tale!Surrealistic sound track by Berto Pisano keeps the movie on it's feet in the tradition of Phantasm.Definitely a must see!