DVD Review: Who Saw Her Die (1972)
When Shameless launched last year, it promised the pick of 'lost shocker and exploitation gems of the past' and has certainly delivered on that score. But that's not the whole story, with the label also spending a lot of time and effort sourcing and remastering some seriously stylish Euro flicks from the 60s and 70s. And that includes the forthcoming Who Saw Her Die, the second big-screen outing from director Aldo Lado
Interesting on many levels, not least because this Venice-based tale of child murder stars a post-Bond George Lazenby, packs a haunting Ennio Morricone score and has more than a slight similarity to Don't Look Now...despite pre-dating Roeg's classic by a year. Was Roeg influenced by this movie? Even if he was, he's unlikely to admit it.
The film isn't entirely based in Venice though, it actually opens in France in 1968, with a young child killed in a snowy location by a stranger dressed all in black. Fast forward a couple of years to Venice and up-and coming artist Franco (George Lazenby) meeting his daughter Roberta (Nicoletta Elmi) at the airport. She loves the city, Franco's friends love her and she finds plenty of children to play with in the local area. But all is about to turn very dark...
As Roberta plays alone in the street, that same stranger in black re-appears and within hours the child's body is found floating in the water. The police seem unwilling or unable to find a killer - leaving a guilt-ridden Franco to apprehend the killer himself. Finding that killer isn't easy, with Franco facing a wall of silence, not to mention a lengthy suspect list that includes a depraved lawyer, members of a sado-masochistic society and the 'friends' who just might have something to hide or someone to protect. But as Franco digs deeper, a trail of death leads him to the last one standing...that stranger in black.
Who Saw Her Die is a giallo that leans more towards a thriller than a horror (although there's still plenty of the red stuff splashed around during the 94-minute running time). And for that reason, it can still pack a punch as a movie 36 years on. Lado crafted an atmospheric film that really builds in both plot and tension. The 'suspects' have genuine menace, leaving the viewer unsure of the killer's identity until the very final scenes. And that plot is sufficiently complex without being confusing. It's also a very stylish piece of work, using the misty streets of Venice to great effect, as well as super-cool period interiors and some serious eye candy in the guise of Anita Strindberg (as Franco's estranged wife Elizabeth) and Dominique Boschero as the mysterious Ginevra Storelli. And of course, that Morricone theme (like just about all of his movie music) will be in your head for days.
Which all adds up to another winner for Shameless. It's pointless comparing it to Don't Look Now because, quite honestly, it just can't match what is generally considered one of the finest films ever made. But it can stand tall in its own right as a classy thriller that oozes style and keeps the viewer engaged until the final frame. What more can you ask?
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