The Crimes of the Black Cat

One thing you can say about Italian gialli: they never resort to killing someone with a simple shooting or stabbing--the villains always use some ridiculously elaborate Rube Goldberg method for doing their victims in. And this giallo features what might be the most ridiculous of them all. I don't want to give too much away, but I will say that the English title "Crimes of the Black Cat" can be taken completely literally. (Obviously, the people who thought up this movie were not cat owners--have you ever tried to get a cat to do ANYTHING?). Aside from the especially absurd murders this is a typical giallo. It is set in the European fashion world, it's highly stylized, the plot makes little sense, and the motivation of the villain turns out to be even more ludicrous than the method of murder.

The protagonist is the blind male lover of the first murder victim. (How come blind people never complain that they are always being stereotyped as good-looking and resourceful individuals who always get to solve the crime and sleep with many attractive members of the opposite sex along the way?). The only name star is Sylva Koscina, but she is barely in the movie. The best actor though is the cat (perhaps the self-same feline thespian who played "Satan" in "Gently, Before She Dies"). After he exits the film, it quickly spirals downward with a truly tasteless shower murder and one of those abrupt freeze-frame endings that were so big in the 70's (maybe they ran out of film a lot back then). If you like gialli at all though, you'll probably like this one. It's very typical for its kind.

The Crimes of the Black Cat is a pretty typical Giallo, which takes influence from many of the more established genre classics. The central character is blind, which is an idea lifted from Argento's 'The Cat o'Nine Tails', and the style and plotting is clearly reminiscent of Argento's early work. The black cat is an animal often seen in horror films, and that's down to Edgar Allen Poe and his famous story about the ominous animal. The way that the cat is used in this film is good because it's instrumental to the plot (unlike other Giallo's which mention a cat in the title and barely even feature one), but it really has to be said that the modus operandi used by the murderer is completely ridiculous even for a Giallo. The plot focuses on Peter Oliver; a blind, yet rich man who finds himself at the centre of a murder investigation when his girlfriend is killed. It seems that someone has a grudge against some of the local fashion models, and all the murders have the common theme of a yellow shawl being found next to the dead victims. But how do you catch a murderer that you cannot see?

Director Sergio Pastore, while taking many themes from across the Giallo genre, hasn't decided to make the film as bloody as some of its counterparts. The murder weapon doesn't allow for too much of the red stuff, but even so; it comes as a huge shock at the end when this placid film explodes with a Psycho-style shower sequence that features some of the most disgusting gore in the entire Giallo genre; and almost makes up for the lack of blood in the rest of the film. There is a lot of sleaze in the movie, however, and this is shown through ideas such as lesbianism and drug use; and that in turns blends well with the depressing urban climate in which the movie takes place. The acting is nothing special, but it's not bad in Giallo terms. Antonio De Teffè does well in the lead role and succeeds at convincing us he is actually blind. There are no real stars in the film beside him, and the lack of a heroine doesn't do the film too many favours either. Overall, this is a rather strange entry in the Giallo cycle as it has a number of good and inventive moments; but it's all encased around a lot of borrowing and tributes. Still, i wouldn't hesitate to rate this film as a success and it comes recommended to Giallo fans!

(aka: THE CRIMES OF THE BLACK CAT)

Filmed in Denmark with a largely Italian cast in a setting away from the usual Italian locations for this genre. So forget that these people are Danes speaking Italian. You can't be too specific with a film like this.

OK so you've seen this before and if you've seen BLOOD AND BLACK LACE, then you'll know how it turns out. Even so, this really isn't bad watching and the story is constructed well despite a couple of suspense contrivances for the audience like footsteps approaching a door, expecting the viewer to believe it's the killer when it turns out to be the hotel bellboy delivering breakfast.

Blind composer Peter Oliver (spaghetti western star, Anthony Steffen) helps sleuth the murders of fashion models in swanky Copenhagen after his close friend Paola is murdered. He suspects something is wrong when he overhears a conversation about a crime in a restaurant while waiting for Paola to show up. She never does. It turns out Paola is blackmailing Victor (Giacomo Rossi-Stuart), threatening to expose some incriminating photographs to his wife (Sylvia Koscina).

Of course when it comes to this genre, the murders can't always be done in a straightforward way and one particular device is using a black cat who's hands are dipped in curare, scratching the victims and causing them to have heart attacks. Strange, yes, but that's typical of the genre so one has to suspend disbelief if you want to watch films like this.

I won't reveal who the name of the killer is. You'll have to see that for yourself, but I will say that it ends in one of those typical freeze-frame endings that were popular in the 1970s.

The DVD by Degored is of poor quality, taken from videotape source with dropouts appearing occasionally and muffled sound, although the subtitles in English look pretty accurate.

There are worse out there.

5 out of 10

Following the death of his ex-girlfriend, a film-score composer finds himself and those closest to him in jeopardy when the killers' spree turns to them, forcing him to piece together the strange clues left behind in order to make sense of the mystery and put a stop to the killings.

For the most part, this one proved to be a rather fun giallo. Among the film's best aspects here is the enjoyable storyline that serves the film nicely. There's some fantastic storylines and subplots at aplay, as the initial start with the half-heard conversation and murder the next day at the fashion house launches some fun here with the blackmail revelation, adultery and secret drug-ring that caters to most of the models at their studio, giving the potential for the usual red-herrings and double-crosses throughout the film. The way the connections slowly build together, from the motive of the cat attacking the victims and how the trick was accomplished to the detective work uncovering the real killer detailing all the different incidents that have taken place which is wrapped together for an extremely engrossing, fast-moving mystery. As well, there's quite a lot to like here with the absurd killing method which offers a real change of pace in the genre. The idea of a cat trained to attack using a special poison mis on it's claws being carried around in a wicker basket covered by a yellow shawl is a wholly unique and original tactic that gives the film something different. As the handler still comes with the traditional look and getup, the mix of styles creates some fine shock jumps of the victims suddenly getting attacked by something or the scenes featuring the killer striking in more traditional manners. The stalking scenes are incredibly suspenseful as well, from the train station encounter, the confrontation in the abandoned factory and the incredibly tense finale in the house which has plenty of suspense and graphic kills which give this one a lot to like. There are a few issues with the film. The first problem is a rather distressing inability to really go for its own charge instead of doing the genre's hits like a checklist. This one pulls off every point in the style, from the continuous half-hearted revelations of the blackmailing attempts and secret keeping, the amateur detective following along the nature of the crimes by his inadvertent involvement that comes about through happenstance and the need for continuing on the killing spree in order to keep the secret hidden because the deaths uncovered an unrelated secret. These are all brought about by the needs of the genre and run through here in a generally routine manner, giving it a wholly cliched feel. The other issue is the underwhelming and abrupt finale that is shocking for the suddenness of it's ending, making this one a little lower with these issues.

Rated Unrated/R: Graphic Violence, Full Nudity and Language.

The first half of this giallo is fairly undistinguished, especially since it blatantly copies Mario Bava (the fashion-house setting being lifted, yet again, from BLOOD AND BLACK LACE [1964]) and Dario Argento (borrowing its blind hero-turned-sleuth from THE CAT O'NINE TAILS [1971]). However, the film is stylish enough (particularly the zoom-happy murder sequences) and the plot convoluted enough (taking in a plethora of shady characters invariably involved in adultery, drug-taking, blackmail and revenge) to overcome its basic lack of originality; the circus-world back-story, then, should perhaps excuse its uniquely far-fetched murder method...though the seven yellow-silk shawls referred to in the original Italian title are equally insignificant!

The film's pulsating score by Manuel De Sica (son of neo-realist master film-maker and versatile actor Vittorio De Sica) is serviceable but unremarkable, as is the cast led by Anthony Steffen, Sylva Koscina (in what at first appears to be merely an extended cameo) and Giacomo Rossi-Stuart. Its use of nudity is very discreet (though it doesn't appear that any cutting was done, I haven't been able to establish the film's correct running time; the print I watched was around 94 mins. in PAL format, but some sources list versions running as long as 108 mins.!) and the gore only truly surfaces at the very end (with a particularly nasty shower murder, shamelessly ripping off Hitchcock's PSYCHO [1960] - but remaining, for my money, one of the genre's most memorable set-pieces). After the mystery has supposedly been solved (and the revelation of the killer's identity having thus proved quite lame and lazy, in my opinion), the film manages to pull the rug from under our feet - so much so that I had to watch the ending twice! - by providing one final twist. By the way, the decision to conclude the film in mid-sequence on a freeze-frame is another Argento influence, namely FOUR FLIES ON GREY VELVET (1971)!

All in all, a giallo more interesting in its borrowings than for any individual achievements - but one that remains eminently watchable just the same.