Umberto Lenzi (Umberto Lenzi), being a very productive director, was especially saturated in the creation of action thrillers in the late 60s and early 70s, giving at the usual pace for the picture per year, or even more. The film in question from this period, when the author already confidently acted in the field of psychological productions, simultaneously stuffing his hand in the popular direction of the Jallo.
The tape seems to act at the junction of the two genre specifics, however, more and more clearly after the first minutes irrevocably leaning towards the detective thriller, telling a confusing story about a mute girl who survived the terrible death of her parents, around whom loved ones begin to die. The case involves an alleged maniac, mysterious symbols with hints of a satanic cult, suspicions easily and simply pass from one to another - a typical uncomfortable situation around the center of the heroine depicting a characteristic "blonde in danger." However, at first and after very small intersperses, the cinema uses typical elements of the jallo, using the image of a murderer, as it should, introducing hands in black gloves, a flashing sharp blade, chasing boots in the frame, an illegible silhouette ...
At the same time, there will be no full follow-up to the “yellow” subgenre. The author remains very, very delicate in relation to the degree of predisposing violence, why there is no sham artistic bloodshed, and what is caused by the script is firmly concealed by the operator at strategically important moments. Because of this, the movie concentrates on suspense, ringing fatal anxiety for the time being, trying to intensify the intrigue with the sacramental question - who is hiding under the guise of a murderer? The emphasis on a cunning riddle-trick, of course, is made, even at times a tangle of intricate accidents deliberately wanders in obvious hints to almost every participant in the events, but it will be difficult to wait for an amazing apogee. Alas, the "Gordian Knot" is very predictably cut, simplifying the monocomplexity of a paranoid detective.
Speaking about the efforts of people involved in the film, perhaps, it is impossible to highlight anyone, since the dominant lyceum investments are reduced to the genre background with frequent unkind glances at the lens to try to strengthen the looming total suspicion. Against this background, the guest American Carroll Baker is remembered more than the rest, not for the first time collaborating with the director in common projects. Her on-screen muteness and fear, mixed with paranoia, is quite worthy, although not brilliant in the quality of acting, I think that perfectly describes the integrity of the tape, along with Lenzi’s creative talent. And the most powerful creepy scene, cutting the viewer to an emotional response, is reduced to the initial prologue, which consists in a documentary filming of a bloody bullfight with the imminent death of a beautiful strong animal for the amusement of the assembled agonizing public.
6 out of 10