Film Review
The early 1960s was a defining period for the Italian horror film, and
also for Mario Bava, the director who played a crucial role in the
development of the genre at this time. Not only did Bava revive
the Gothic horror genre with such spectacular works as
The Mask of Satan (1960) and
The Whip and the Body (1963), but
he also pioneered the contemporary horror film, beginning with
The Girl Who Knew Too Much, which
is credited as being Italy's first giallo film. Throughout much
of the 60s and 70s. the giallo, with its lurid mix of gory horror,
mystery and sex, would be one of the most important genres in Italian
cinema. The genre derives its name from the pulp crime novels
that were popular at the time, all printed with yellow covers (yellow
being 'giallo' in Italian). Whilst
The Girl Who Knew Too Much was
intended as a light-hearted parody of the murder mystery, it contains
most of the elements of the classic giallo film (although it is
atypical for being shot in black and white) and is easily one of the
most enjoyable entries in the genre.
As is suggested by its title, a cheeky reference to
The Man Who Knew Too Much,
The Girl Who Knew Too Much is an
overt homage to the master of suspense, Alfred Hitchcock. The
film's stylish design, particularly its imaginative use of atmospheric
chiaroscuro lighting, achieves a chilling dreamlike impression that is
instantly evocative of some of Hitchcock's more memorable black and
white films, in particular
Psycho (1960). Bava
appropriates several Hitchcockian motifs, not only to build tension,
which he does brilliantly, but also for comic effect. It is
testament to Bava's genius that whilst the film is outrageously funny
in places, it is also unrelentingly creepy, and for the most part the
spectator sits on a knife-edge, not knowing whether to laugh out loud
or tremble in fearful anticipation of the next horrific development.
Along with several of Bava's other horror films, American International
Pictures released
The Girl Who Knew
Too Much in the American market under the title
The Evil Eye, but only after
extensive cuts (which included the removal of all references to illicit
drugs taking, hence robbing the film of its humorous ending).
Even with such glamorous performers as Letícia Román and
John Saxon in the lead roles, the film was not a great success, neither
in America or Italy, and even Bava himself was dismissive of it.
Yet it would have a far-reaching effect on Italian cinema and is now
considered very favourably alongside Bava's other achievements.
© James Travers 2010
The above content is owned by filmsdefrance.com and must not be copied.
Film Synopsis
Whilst on holiday in Rome, a young American, Nora Davis, visits her
bedridden elderly aunt. When her aunt suddenly dies that night,
Nora rushes out into the street to fetch her doctor, Marcello Bassi,
but is attacked by a mugger. When she comes to, Nora is horrified
to see a young woman collapse in front of her, with a knife in her
back. The next day, Nora regains consciousness in hospital, but
no one believes her story. Even Marcello is sceptical but he
agrees to play along with her. At her aunt's funeral, Nora
is invited by a friend of her aunt, Laura Torrani, to stay at her house
in the Piazza di Spagna whilst she and her husband are away. Nora
accepts the kind offer but is alarmed when she finds a box containing
newspaper clippings in a cupboard. The clippings are of articles
reporting the murders of three young women, whose surnames begin with
the first three letters of the alphabet. As Nora's surname begins
with the letter D she naturally assumes she will be the next victim...
© James Travers
The above content is owned by filmsdefrance.com and must not be copied.