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Maria Teresa Luciani , Marcello Giombini. Gianni Ferrio. Duccio Tessari is probably best known as the director of several Spaghetti Westerns, most prominently the "Ringo" films with Giuliano Gemma, as well as the well-known Italian Crime flick "Tony Arzenta".
The man also served as an uncredited co-writer of Sergio Leone's Italian Western milestone "Fistful of Dollars", and as a writer of several sword and sandal films in the early 60s. As a director, Tessari's doubtlessly best films are his two intelligent and plot-driven Gialli, "L'Uomo Senza Memoria" aka.
And the film is indeed a perfectly constructed puzzle of a mystery that is though convoluted always easy to follow. Marchi's daughter Sarah Wendy D'Olive , who was friends with the murdered girl, does not believe in her father's guilt As said above, this is a purely story-driven Giallo.
For genre-standards, there are only very few murders and very little gore. The film is very suspenseful, however, and delivers mystery and innovative twists from the beginning to the end, as a good Giallo should. The beautiful Bergamo locations are a wonderful setting for the film, which is furthermore in good Giallo-tradition brilliantly photographed.
The beautiful score intensifies the atmosphere, and the film profits from a very good ensemble cast. The characters are all complex and elaborate.
As said, for a Giallo this features little violence and gore and also little sleaze, but the magnificently elaborate plot should be more than pleasant to Genre-fans. When two other women are murdered and it is found that Alessandro's wife Maria Marchi Evelyn Stewart is the lover of Giulio, the defense asks for mistrial and Alessandro has another trial. Who might be the killer? The suspenseful screenplay begins with the presentation of several characters and is confused, and the slow pace is tiresome.
But the story is good, and the unexpected conclusion surprises the viewer. My vote is seven. Behind a typically abstruse giallo title the plot's link to a butterfly of any kind is extremely tenuous lies a film that rarely feels like a typical giallo, with more police procedure and courtroom drama than usual. Director Duccio Tessari's film opens in familiar territory with the murder of a young woman in a park, the killer, in raincoat and hat, making his escape, but witnessed by several people.
The police investigate the crime scene, forensics gathering numerous pieces of evidence, all of which points to TV reporter Alessandro Marchi Giancarlo Sbragia as the guilty party. The rest of the first half of the film is dedicated to the trial of Allesandro, with dreary flashbacks and cross-examination making the film something of a chore to sit through.
Found guilty of murder, Allesandro is sentenced to life, but while he is in prison, the killings continue, the modus operandi the same as before, the culprit contacting the police with a whispered phone call. When Allesandro's mistress comes forward with vital information that seems to prove his innocence, Allesandro is freed much to the annoyance of his wife, who also has a lover. After much intrigue, Tessari eventually pulls together all the plot threads for an unexpected twist ending that goes some way to make the duller moments seem a bit more worthwhile.
As far as the death scenes go, they are extremely tame and likely to disappoint fans of Argento or Fulci, and despite a fair few attractive women, the level of nudity is also fairly low. Perhaps the most notable things about the film are its police inspector's strange obsession with coffee, and the cop who falls over running down some stairs during a chase on foot through the streets of Milan it looks unintentional and is never spoken of.
I just picked this little gem up recently and had the pleasure of finding out what a great film this is.
I was unfamiliar with the director, and wasn't sure what to expect. The film is filled with clever camera work and symbolism. The soundtrack too is wonderful. I did not miss the mighty Morricone while watching this giallo. Morricone has scored many films like this and has created a style all his own for these sort of films.
Even though I noticed some Morricone-like melodies, the score overall was original, with well placed moments of Tchaikovsky's piano concerto. If you have already seen all the Argento, Fulci and Bava giallos, then by all means do not miss this one! Under-rated gem Wheatpenny 8 August One of the best gialli to come out of Italy in the period, it's very stylish and of course convoluted, but always interesting and ultimately quite clever.
For once the solution to the mystery actually matters and makes sense! I highly recommend it. Great soundtrack too, I just bought the CD. Saliva Soup 20 December I must say that after hearing nothing but good things about this film I was a little disappointed. While I wouldn't call this a bad film, I didn't think it was anything special.
With all the great gialli out there I don't understand how this one gets so much praise. Maybe I'm missing something Perhaps if I went into it with lower expectations I would have enjoyed it more. I would agree with the other reviewers in that this is a more "serious" toned giallo than most.
Overall though, I found the film to be pretty forgettable upon my first viewing. It also has a pretty sleazy bit where the attorney tries to have sex with the daughter of the woman he is having an affair with, who happens to be the wife of the accused killer he is defending in the first half of the film.
I'm a firm believer that rain can add atmosphere to any scene, whether on film, television, book or photograph. The downpour that accompanies many of the events at the beginning of this Duccio Tessari directed giallo is welcome after the very lengthy introduction, via a never-ending opening credits sequence introducing many starring characters. The police investigations are methodical and Silvano Tranquilli's Inspector Berardi and his men spend as much time in the dark about things as we are.
The reluctance to dwell on gore, sex or elaborate plot details tend to make many events quite dull viewing in my view. Usual giallo standouts are very much in evidence here: Gianni Ferrio's score is wonderful, the locations, drenched in sun or hammered by rainfall, are spectacular throughout. The reveal at the end is entirely in-keeping with the restrained manner throughout the 95 minutes — satisfying but hardly spectacular. But between to it was in it's full swing! They must have been throwing these films out weekly!
First it takes a slightly different approach in it's proceedings, anouncing the characters names like an Agatha Christie thriller.
It contains a lush hypnotic soundtrack supplied by Gianni Ferrio that blends out of a jarring Tchaikovsky number , that fits in snuggly with Ennio Morricone's doodlings yet retains it's own originality.
The entire cast is solid, with Helmut Berger's Giorgio a pianist going mental every time he hears Tchaikovsky, and Giancarlo Sbragia the main suspect looking timid yet shifty while trying to defend himself. Red herrings abound everyone seems slightly guilty and slimey the story weaves a web of perplexity until the surprising or not so surprising if you've seen enough Giallos climax. Dementia out of passion is called into explanation, and this is not just your regular moral avenger or greedy interloper Giallo.
Beautiful Wendy D'Olive plays the daughter of the suspect the only character who isn't dipped in slime , and one can't help but feel that this poor character will probably suffer a nervous breakdown at the end of the chaos. To give away the story would be a crime, because this is what keeps the interest jumping. Again the black gloved assassin is taking the lives of beautiful women, but this tends to feel like a more mature outing with restrained gore.
The emphasis is placed on the convoluted, puzzling story. One thing that makes Giallo films so great is that it's stylized trash. Not simply just stalk n' slash fair unlike so many of America's horror films of the time , but great detail is placed on locations, clothes, interior decoration, and music.
Giallo films tend to seduce before destroying it's viewer with everything abound incorporating a lushous veneer. One of my favourite moments of the film is when Wendy D'Olive is taking a tram through the city, while Helmut Berger is driving his sports car right before their chance or maybe it isn't?
The wonderful music glides you through the scene like an Italian daydream, only to drop you into a scene of suspicion. Highly recommended for fans of Italian Cinema! Red-Barracuda 6 February A girl is murdered in a park. A suspect is tried and convicted but the killings continue.
The Bloodstained Butterfly is a giallo that occupies the more restrained side of the genre. Despite having a plot revolving around a series of knife murders, it doesn't really focus on these killings. One is shown briefly in flash-back, while the others are essentially committed off-screen.
Instead, the narrative concentrates more on the mystery. For this reason it is on the more sober and intelligent side of the giallo genre.