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Kill Baby Kill: The 27 Best Giallo Films

31 Days of Horror

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Best Giallo Films Ever Made

What are the Best Giallo Films to Stream?

The term “Giallo” initially referred to cheap yellow paperbacks (printed American mysteries from writers such as Agatha Christie), that were distributed in post-fascist Italy. Applied to cinema, the genre is comprised of equal parts early pulp thrillers, mystery novels, with a willingness to gleefully explore onscreen sex and violence in provocative, innovative ways. Giallos are strikingly different from American crime films: they value style and plot over characterization and tend towards unapologetic displays of violence, sexual content, and taboo exploration. The genre is known for stylistic excess, characterized by unnatural yet intriguing lighting techniques, convoluted plots, red herrings, extended murder sequences, excessive bloodletting, stylish camerawork, and unusual musical arrangements. Amidst the killer set-pieces are thematic undercurrents along with a whodunit element, usually some sort of twist ending. Here is a list of the best Giallo films – made strictly by Italian directors, so don’t expect Black Swan, Amer, Perfect Blue or even Dressed to Kill to make an appearance on this list.

Sergio-Martinos-Torso-Greatest-Giallo-Films

27: Torso | 1973

Prolific Italian genre filmmaker Sergio Martino started his career as an assistant director for filmmakers such as Mario Bava and Brunello Rondi before moving into directing himself, with the 1969 documentary Mondo Sex. Over the next three decades, Martino was responsible for some of the more exploitative films in a number of genres, moving from spaghetti Westerns to Giallos to gritty crime films, sex comedies, jungle adventures, and apocalyptic science fiction. He is one of the most overlooked genre filmmakers from Europe, and certainly one of my all-time favourites. Torso (I corpi presentano tracce di violenza carnale) pales next to director Martino’s more inventive Giallos (see below), but there is still a lot to love about the film. The movie definitely improves in the second half, when it switches focus from being a broad murder mystery to more of a suspense thriller. The plot of the killer terrorizing Rome’s college students is hardly new (even for the time) but the murder sequences are artfully staged and strangely beautiful to watch: most notable is the one in which the killer stalks his victim through a muddy field. Torso is overloaded with red herrings and doesn’t feature the most complicated of whodunits, but Martino has his fun getting to the conclusion and so will you.

26: A Blade in the Dark | 1983

A Blade In The Dark (La casa con la scala nel buio) comes from the director of Demons, and is written by the scribes of Lucio Fulci’s The Beyond and Mario Bava’s Bay of Blood. There are a few reasons why this film stands apart from most generic Giallo films. First, the movie co-stars Michele Soavi, who would go on to direct Cemetery Man and Stage Fright. Secondly, the film may have clearly inspired Wes Craven’s Scream 3, another horror movie about the making of a horror movie. Finally, it features a memorable kill scene, which does for washing your hair in the sink what Hitchcock’s Psycho did for taking a shower. Hat said, the ending is a bit predictable, there isn’ t much of a mystery, and it’s a brutal, nihilistic bit of filmmaking that some could easily interpret as an exercise in misogynistic sadism, so see it at your own risk.

25: Trauma | 1993

Asia Argento stars in Trauma, Dario Argento’s first production on American soil and although it doesn’t quite match the mastery of his previous work, Trauma is stuffed full of wild bursts of imagination. On American turf, Argento’s distinctly European sensibility is missed, but Trauma does feature some bizarre plot twists, a strange séance, and a dozen or so ways to creatively decapitate a human being. Lizards appear throughout the film, intercut with the killings as a motif, and much like The Bird with the Crystal Plumage, Trauma toys with perception and the idea of how our eyes can play tricks on us. Trauma showcase Argento’s funny bone more so than any of his other films as evidenced in the strange closing credits, with Asia Argento dancing around a Reggae band and a few talking decapitated heads.

The-Fifth-Cord-Greatest-Giallo-Films

24: The Fifth Cord | 1971

Director Luigi Bazzoni’s beautifully crafted, nuanced contribution to the endless Giallo cycle is perfectly summed up as “style over substance.” That said, The Fifth Cord (Giornata nera per l’ariete) is also highlighted by Franco Nero, starring in his one and only entry in the genre. The Fifth Cord can be difficult to get immersed in, but the cinematography and the score by the legendary Ennio Morricone is brilliant, and the film features quite a few memorable moments – specifically in the suspenseful climax through the endless corridors.

Greatest Giallo Films | Four Flies on Grey Velvet

23: Four Flies on Grey Velvet |1971

Four Flies on Grey Velvet (4 mosche di velluto grigio) is the final film in Dario Argento’s infamous (but in no way structurally connected) “animal trilogy.” Four Flies literalizes the eye as a photographic camera, toying with the theory that a dead person’s retina retains the last image he or she sees before they die. This especially homoerotic entry into Argento’s canon borrows heavily from Peeping Tom and injects one of Hitchcock’s favorite subjects into the script: the innocent man, wrongly accused. Ennio Morricone’s expressive score provides moments of beauty and quiet despair, and Argento’s use of light and shadow heightens the terror. Four Flies on Grey Velvet shows Argento experimenting more with filmmaking techniques— a technical wonder for its time of release, Four Flies proudly boasts the first use of a slow-motion bullet effect in film, pre-dating The Matrix and many action films to come.

In-The-Folds-Of-The-Flesh-Greatest-Giallo-Films

22: In The Folds Of The Flesh | 1970

This candy-colored, feverish, mind-twisting nightmare is one of the strangest Giallos ever. In the Folds of the Flesh (Nelle pieghe della carne) packs more bizarre ideas and offbeat elements into its brief 87 minutes than any other film featured on this list. All the usual genre trappings are present and accounted for: femme fatales, clouded flashbacks, gruesome killings and so on. Fusing together the mainstays of the subgenre, director Sergio Berzonzelli (who directed a number of entries into the Italian cult film scene) also finds time for incest, child killers, caged flesh-eating birds, golden beetles, a cyanide bath to eliminate dead bodies, and Nazi war camp sequences. In the Fold of the Flesh consists solely of a series of shocking scenes strung together with virtually no cohesive narrative, yet somehow it is a rewarding watch. It’s almost pointless to attempt to describe the madness that unfolds. None of the characters are mentally stable, and they are all haunted by some past traumatic experience in the form of the film’s opening decapitation (a recurring theme), The film looks gorgeous, with its lavish decorations, lurid set design, a palette bursting with primary colours and Bergonzelli’s fondness for unorthodox camera angles and still photography. Jesús Villa Rojo provides an eclectic score ranging from contemporary jazz to classical compositions and inter-titles appear from time to time (with a few spelling errors). There is even a narrator who attempts to explain the origin of the film’s title with a Freud quotation: “…what has been remaining imbedded in the brain nestled in the folds of the flesh distorted it conditions and subconsciously impels…”

Killer-Must-Kill-Again-Greatest-Giallo-Films

21: The Killer Must Kill Again | 1975

Director Luigi Cozzi crafted a suspenseful thriller with The Killer Must Kill Again ((L’assassino è costretto ad uccidere ancora). Indebted to Alfred Hitchcock (like most Giallos), The Killer Must Kill Again plays like a twisted hybrid of Strangers on a Train (two protagonists who swap murders along with a vital cigarette lighter which plays a key role in the conclusion) and Dial M for Murder (with the cunning rich man who arranges his wife’s murder). Most notable about the film is the music, an early Italian progressive jazz score by Nando De Luca, and the uniformly strong cast which includes the beautiful Christina Galbo and George Hilton who plays the shady rich guy perfectly. The film is visually striking, mostly shot at night, punctuated with vivid bursts of colour, and benefits from a satisfying climax.

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Some people take my heart, others take my shoes, and some take me home. I write, I blog, I podcast, I edit, and I design websites. Founder and Editor-in-Chief of Goomba Stomp and Tilt Magazine. Host of the NXpress Nintendo Podcast and the Sordid Cinema Podcast. Former Editor-In-Chief of Sound on Sight. Former host of several other podcasts including the Game of Thrones and Walking Dead shows, as well as Sound On Sight. There is nothing I like more than basketball, travelling, and animals. You can find me online writing about anime, TV, movies, games and so much more.

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Film

Netflix’s ‘Enola Holmes’ is Neither Afoot of Her Older Brother or Her Own Genre

It is neither brilliant nor absolutely rotten, but it is rubbish, to say the least. Enola’s first outing is not afoot of her older brother’s lineup of thrilling interpretations or the film’s broad genre in any way…

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Netflix Enola Holmes

Netflix’s Enola Holmes Review

Despite what you may have already heard, the game is not quite afoot with this one. Netflix’s Enola Holmes is the streaming giant’s latest mystery film based on Nancy Springer’s series of young adult fiction novels starring the younger sister of London’s finest consulting detective Sherlock Holmes- more specifically The Case of the Missing Marquess, the first book in the author’s franchise. For those expecting a mind-bending mystery comparable to BBC’s excellent Sherlock or the exciting Robert Downey Jr. films, you best grab a cabbie and leave before touching this one. Enola Holmes will without a doubt be a fun family film for kids captivated by its promising cast of actors, but any true crime solver will be scurrying from the scene faster than you can say “The Hounds of Baskerville” by the time the second act even hits.

Enola Holmes seems to initially build towards the story of the title character finding her missing mother after she seemingly disappears one morning, but in reality, this story quickly takes a hard turn after its introduction. It manages to become a tale of conquering a characteristic the title character’s name spells backward (alone) all while untangling another family conspiracy that is beyond anticlimactic. There is certainly a mystery to be solved within this flick, but not one you are expecting to find on the surface as Enola Holmes has no idea where exactly its focus should lie. It is constantly jumping between ideas and never manages to find a footing until the third act is in session. Millie Bobby Brown is arguably the main reason Netflix audiences will be flooding to see Enola Holmes and they certainly will not be disappointed by the young Stranger Things actor’s witty performance. However, it might as well be the only aspect worth sitting through in this disrespectful misfortune of an adaptation.

While the actor is certainly flaunting her accent and enjoying her eighteenth-century mishaps, it is just a shame Brown did not get a stronger script to work with. Enola is spunky and clever, but acts like a Deadpool or more so Harley Quinn as she constantly communicates with the audience through wall-breaks- a creative choice that is never properly utilized and results in the movie having to close on an odd note that does not properly bookend the character’s story. The character has no compelling flaws or established reasons as to why her quest is supposed to come off as a challenge for her. Outside of Enola and the young Marquess heir she encounters, the only other interesting talent holding up this story that is worthy of a mention is of course Sherlock Holmes, but he rarely ever appears in the movie or has any importance.

Henry Cavil plays a great Sherlock Holmes except he never receives any moments to truly shine by showing off his masterclass detective skills everyone is constantly on about during the whole film’s two-hour runtime. In fact, by the end of the movie, the character somewhat falls off the high horse as what honestly seems like a simple case flies overtime for him- somehow young Enola can outsmart a veteran Sherlock Holmes? While I am glad they kept Sherlock out of the spotlight as the focus should be on his younger sister, it is hard not to acknowledge the genius consulting detective audiences are accustomed to is just not as quick or clever as he should be. As for the other mainstay characters, Mycroft Holmes (Sam Claflin) plays a key role yet there is nothing striking to say about Sherlock’s brother who only appears to really throw a wrench into Enola’s plans and generally is portrayed as an idiot rather than the arrogant mastermind that he is supposed to be.

It may seem packed with problems so far- especially when it comes to keeping up with or respecting the source material, but the largest issue Enola Holmes helms is the way in which its mystery unfolds and how it unsuccessfully incorporates its forced theme. In comparison to previous on-screen interpretations of Sherlock Holmes- or even the Enola Holmes novels for that matter if you are the type of reader so keen on not comparing the two characters- the mystery being explored lacks much depth or development from beginning to end. Sure it builds upon the character of Enola in tons of great ways as it shows off her personality and skills adopted from her childhood, but it never truly does what a good mystery story is out to accomplish. Here we have two different stories intertwining, the search for Enola’s mother and the whereabouts of her male friend.

Both are without a doubt compelling ideas except for the fact that the latter abruptly becomes the focus at around the halfway point for what is seemingly going to be a few minutes but ends up being the entire film. On top of this, we have a consistent theme being thrown around that “girls can do anything” which is completely fine, except for the fact that its female lead is, as previously stated, practically flawless and is often played out as superior to everyone else by one-upping her older brothers or being better than the pretty boy who has little character development. The movie takes place during the perfect time period to use feminism as a theme and while it does mention the world’s current politics multiple times it never actually draws a focus towards those enticing problems. The film leaps over so many possible compelling character points and plotlines as it treads around a mystery that is not all that much of an enigma.

Without taking into account the other various pieces of Sherlock Holmes media available- including BBC’s terrific modern take on the franchise which is streaming on the same platform, Enola Holmes is a substandard film that younger audiences will likely more so enjoy than the older folks accustomed to London’s greatest detective. For those completely unaware of the lore behind Sherlock Holmes and are here for the recognizable actors being marketed at the forefront, the cast will without a doubt help end your viewing party on a less than sour note as Brown provides one of her best performances yet in a somewhat fun though messy detective flick. It is neither brilliant nor absolutely rotten, but it is rubbish, to say the least. Enola’s first outing is not afoot of her older brother’s lineup of thrilling interpretations or the film’s broad genre in any way.

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Shaw Bros. Spotlight

‘The Boxer from Shantung’ Does Not Aim High Enough

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The Boxer from Shantung

Anyone who has seen just a few Shaw martial arts films has noticed a trend: all of the stories transpire centuries ago, during the era of the many Chinese dynasties. The beautiful costumes, the intricate set designs, the legendary figures upon which writers and directors can find inspiration, the admiration of tactical warfare during the times, all of these and much more are reasons why the studio chose to set its stories in the distant past. As with all rules, there are exceptions. Just as not every single Shaw film is martial arts-based, not everyone is a period piece either. This week, the column takes a look at yet another Chang Cheh picture, The Boxer From Shantung, although this one is set in the 20th century in the city of Shanghai.

Ma Yung Chen (Chen Kuan-Tai) and Hsiao Chiang Pei (Cheng Kang-Yeh) are two friends working blue-collar shifts making water pipes for the city of Shanghai. The pay is as small as their landlord’s attitude is deplorable. While Chiang Pei is a rather fun-loving character, honest, friendly, uninterested in creating mischief, Yung Chen is cut from an altogether different cloth. His desire to leave their lifestyle far behind is far more ferocious. Determined to make a name for himself and his friends, along with earning tons of cash, Yung Chen’s rambunctious attitude almost gets him in deep trouble when stumbling upon the evil doings of a local mob, ‘The Four Champions’, whose leader, Boss Yang (Chiang Nan), does not take kindly to intruders. Lucky for Yung Chen, he knows a near-impenetrable style of boxing studied back home in Shantung. The volatile and cocky young man beats the living daylights out en entire hoard of Yang’ men. On that same day, he earns the favourable opinion of another, more benevolent boss, Tan Si (Chang Cheh regular David Chiang). With plenty of friends to help him out and a powerful, newly found ally in Boss Tan Si, Ying Chen makes his way up in the world as an enforcer, a protector, and finally a boss.

The Boxer from Shantung

The Boxer from Shantung may appear as a unique experience for its setting but said uniqueness is mostly a deception. Yes, a tale of gangsters in a much more modern setting does make for a fresh change of pace. The greater truth of the matter is that the screenwriter and directors (two principle directors for a single film being a first so far as this column is concerned) emulate the exact type of story familiar to fans of gangster flicks. Boxer is, at its core, a ‘rise and fall’ story, with the central character, the charismatic Yung Chen, works his way through the concrete jungle of gang warfare amongst heated rivals in order to make a living for himself, as well as gain increasing wealth and influence over local businesses and prominent individuals. Hence, the general story arc reserves few surprises for the audience, following the genre’s blueprints to near perfection, which is a bit of a shame given that one hopes that with an entirely new setting would liberate the filmmakers from the some of the tropes. Instead, they opt to follow the predictable plot points beat for beat, with only precious little signs of deviation, one example being the development of the love angle. There are not too many false notes per se, but the lack of chances taken is unfortunate.

The Boxer from Shantung somehow goes for something new, yet lacks originality…

It is a little strange to be watching a Chang Cheh (partially) directed film which features David Chiang playing only a supporting role. Chiang is a loveable type of actor, who can win an audience thanks to his easy charm and wit, and therefore the actor taking center stage has some rather big shoes to fill. In the case of Boxer, that actor is Chen Kuan-Tai, who fills is a perfect fit for said shoes, bringing his own brand of energy to the fold. It is always reassuring to see young, up and coming actors bring the best they have to offer right off the bat. Chen Kuan-Tai is definitely the sort of performer who adds barrels of life to a scene. It helps that the character he plays is cocky, street smart, ambitious, and remarkably gifted in the martial arts of his home province. It may be guessed that since the script treks a familiar path, the film could be used as a vehicle of sorts for young Chen Kuan-Tai. It does not necessarily make the film better, but the film’s star is now someone readers may want to peel their eyes for from now on. A little bit of credit should be shared with his co-star, Cheng Kang-Yeh. While he does play the supporting role, serving mostly as comic relief more than anything else, the performance is a fun one, if a little bit on the cheesy side.

The Boxer from Shantung

The necessity for not one but two directors is one to cause perplexity. As has already been written in this review, the story is easy to follow due to its familiarity, therefore causing one to wonder how exactly Chang Cheh and Pao Hsueh Lieh collaborated on the project. There are few tonal inconsistencies and it is fair to wonder if their dual participation has anything to do with it. Some scenes are filled to the brim with energy and spunk, whereas others fall incredibly flat, lacking any momentum whatsoever. Oddly enough, the scene introducing David Chiang’s mob boss character is one such scene, in which he playfully taunts Ma Yung Chen, who at that point is just a nobody in the underworld, wandering the streets looking for a job opportunity. The scene is abnormally long, with each subsequent character reaction delayed for some unexplained reason, not to mention that there is no music, thus making it seem all the more hollow. This happens on a few occasions throughout the film and every time it plays out very strangely.

The action, when it erupts, is not of the most imaginative variety (nor is star Chen Kuan-Tai the most impressive fighter, moving a little bit slowly all things considered, even though he does give it is all), but what it lacks in creativity it makes up for in scale. Almost every single action scene involves the protagonist, sided with perhaps a couple of allies, fending off armies of Boss Yang’s men, many of whom enjoy attacking with little hatchets. These brawls en up being rather fun romps, wit plenty of bodies running, flipping, and falling all over the place. The best is saved for last, as Chen Kuan-Tai finds himself all alone against Yang, his strongest enforcers, and tons of other hoodlums inside a tea shop, fighting on both the second and first floors. To top it off, he receives a hatchet to the stomach, but of course, refuses to back down and takes out as many villains as he can anyhow.

There are a few significant opportunities that are lost in Boxer. Providing the film which a context so vastly different from the majority of other Shaw productions, in addition to favouring a lesser-known actor in the lead role with the more accomplished ones serving the secondary participation brought with it plenty of potential. Admittedly, upon learning that Chang Cheh had in fact directed a more contemporary action film, this martial arts fan’s curiosity was very much aroused. Ultimately, it gets the job done, which still means something at the very least. It is a competently made production. The problem is that it does not aim high enough.

-Edgar Chaput

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Friday Film Noir

‘Laura’— More than Enough to Satisfy Fans of Film Noir

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Larua 1944 Film Noir

Friday Film Noir

A detective’s work is challenging enough already without the complications that arise when he or she is involved with one of the suspects of a crime. Determining the innocence or guilt of an individual or party would be a lot simpler were it not for the mind games suspects so often play with investigators, evading conviction with lies and half-truths. The sudden emotional attachment to one of the targets of police suspicion could send everything into a tailspin, provided the assigned investigator is capable of keeping a lid on his or her emotions. However, what if a detective grew attached to a person he could not physically relate to, such as the victim of a murder? What if, after believing the object of one’s desire was unattainable, a new reality suddenly set itself in which made the impossible possible?

Laura, directed by Otto Preminger, starts with a newspaper columnist, the unforgivably snarky Waldo (Clifton Webb), explaining to the viewer the circumstances under which detective Markk McPherson (Dana Andrews) arrived at his lush Manhattan condo: the shocking murder of his beautiful protégé Laura (Gene Tierny), shot in the face with a pistol filled with buckshot. From there the film follows Mark as he jumps down the rabbit hole of excuses, evasive answers, and the like provided by Waldo, Shelby (Vincent Price), another man vying for Laura’s heart, her housemaid Bessie (Dorothy Adams), and her aunt Ann (Judith Anderson), also a rival for Shelby’s affections. More than anything, it is the portrait of Laura herself that hangs above the fireplace in her living room that fascinates Mark the most. Everyone’s description of her makes the victim seem quite the extraordinary woman, and judging by the painting, she was especially alluring. One cannot fall for a painting, however…

Laura is much ado about love, much of it quite evil in fact…

It might feel somewhat odd to include this Preminger effort in the noir category. On the whole, the movie masquerades as a romance story stuck in a murder mystery. It is indeed both of those things, unmistakably so even. That said, noir has a funny way of continuously shape-shifting itself to conform with other genre staples. Sometimes one stumbles onto a noir without even knowing it, the familiar traits seeping their way into the fabric of a picture like black ink sinks into a white dress. Romance, in the case of Laura, enables the picture to take on an altogether different identity than originally anticipated, playing into the hands of noir’s more gloomy aspects. Whereas by and large antagonists make their presence known quite clearly in films of this nature, here the villains are, in many ways, decent folk at their core, compelled to act out against their better instincts for love’s sake. There is no big cash prize to snatch after knocking off rivals, no criminal dynasty to control, no great escape from gangsters to perform. Nay, everything almost every character does in this film is out of some form of love for the titular victim. Director Preminger, working with a script ripe with potential, exquisitely plays on this idea of love perverting people’s behaviours. Laura herself is provided some scenes via flashbacks to flesh her out somewhat, yet she represents more a symbol of love in the early stage of the film than a three-dimensional person. She is what corrupts those around her but only despite herself. Laura is a perfectly good person by and large (she is also by far a more engaging personality than Waldo) and to think that the picture is sexist in any overt way because of her role as a concept, so to speak, is off the mark. People do silly, regrettable, and even awful things to obtain and retain love, something money cannot buy. The mistakes and lies the suspects engage in are not the result of who she is in the traditional sense, but because of what they think they can get from her.

As was the case with the film reviewed two weeks ago (The Chase), there is not much else that can be written without revealing the film’s big secret. In a dreamy scene about 40 minutes into the film, detective McPherson, at this stage clearly in love with the victim and having decided to stay the night in Laura’s Laura’s condo, takes a few stiff drinks before slumping into a chair in the living room. Moments later, whom other but Laura herself walks in. She had gone away for the weekend and a classic case of mistaken identity has led to the death of another person!

In what is perhaps the director Preminger’s most interesting coup, Laura‘s narrative does not make a dramatic shift after this startling revelation. Suspects continue to either tell lies or the truth depending on what will have them gain the upper hand over McPherson’s sharp skills as he tries to unravel the new identity of the victim and the killer. The only major added level of tension is that the detective has fallen for Laura, placing him in the most awkward position possible. Yet another curious aspect to this portion of the film is the relative ease with which the love between Mark and Laura blossoms. The lack of time to fully develop their relationship, not to mention that their bond only adds to the two romances already boiling feverishly, partially explains this. That is but one way to interpret the situation, however. Another, more thematically rich understanding is that Laura and Mark are falling prone to the same mistakes witnessed up until then. Just as Waldo and Shelby craved for Laura, the latter who sought after her like a true playboy with only limited knowledge of who she was, so is Mark. It is a little bit of history repeating in a perverse way. To make matters even more interesting, knowing how Laura has behaved in the past, there is no guarantee that she and Mark will live happily together. She had quickly responded to Waldo’s advances once he began to promote her career in advertising and was easily swayed by Shelby once he began to woo her. This is not to argue that Laura is a tramp or anything along those lines, only that her idea of what sort of man would best suit her as a companion is not well defined as of yet. A possible case in point is the movie’s final shot, a broken clock that was a gift to Laura from Waldo, obviously a symbol of their no longer existent relationship. The viewer is not even given the satisfaction of a shot with Mark and Laura in a loving embrace.

On the topic of Mark and Laura, Dana Andres and Gene Tierny are extremely captivating in their respective roles. Tierny carries the heaviest responsibilities as the center of attention. She has to convey the attraction, sweetness, and confidence for which Waldo, Shelby and Mark think so highly of her for and she is aces in all three respects. Stevens is convincing as the no-nonsense, tough as nails detective who asks the hard questions, even when the suspects take offense to his lines of inquiry, yet it is in the brief, subtler moments when he lets his police detective guard down that the viewer recognizes a softer, emotionally driven person behind the stern mask. Such moments stand out much more than those emphasizing the hard-edged persona. The same comments are applicable to Clifton Webb, whose performance is showy for the most part, in an amusing way, but really shines when his recollections of Laura reveal his genuine affections for her. As self-aggrandizing and antagonistic as he can be, there definitely exists a beating heart somewhere inside. His own relationship with Laura was complex, never reaching the level of true love, if only because the latter never reciprocated. That lack of fulfillment goes a long way in explaining the sense of loss. There is so much great acting on display that the iconic Vincent Price comes off as rather ordinary by comparison. Seeing him a meeker character than usual is a bit strange, especially considering his gigantic figure. Price is fine, although the panache and charisma he is mostly known for are missing.

Laura has built itself a tremendous reputation throughout the years and it is easy enough to understand why. Under Otto Preminger’s guidance, the film has more than enough to satisfy many pallets, from a unique romance story to a depiction of the desperation of men when love is at stake.

-Edgar Chaput

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