A generous helping of gore shapes Umberto Lenzi’s sadistically-tinged classic surrounding a killer, who’s hell-bent on gouging out the eyeballs of American tourists (passengers from a tour bus that’s traveling around Spain). The story unfolds at a brisk pace and keeps you guessing throughout without ever descending into convolution. Particularly though Argento had something to say about the style that made him famous with this film, and the barbs that he throws at critics of the giallo act as the perfect primer for anyone wanting to dive into the genre. But what else do you expect in a town where the populace includes priests, junkies, and opportunistic crime reporters, all of whom have more than their fair share of skeletons in their closet. On that note, this film always reminds me of Expose’s 1987 music video for “Let Me Be the One” – released the same year as Delirium. But what sets them apart as a sub-genre are a slew of specific elements that form a stylish European murder mystery: candy-red gore, bad dubbing, black leather gloves, robes, knives, and POVs. Of course, this minor issue was resolved, thanks to the advantage of video rental stores (now near obsolete), carrying some of the most risqué foreign releases. Here, Bava established the color-drenched murder-mystery template subsequent films adopted. It’s so much more than just a story filled with multiple homicides; instead, it reaches a mythical plane, transcending beyond the natural world. I had the, The Suspiria Live Score by Claudio Simonetti and Goblin was one of those amazing shows that, until, Suspiria is a 1977 Italian horror film by Dario Argento. What ensues is a genuinely engaging and often unsettling murder mystery that’s punctuated by a couple of standout scenes of shocking violence that leave a lasting impression. Even with a mystery surrounding one slain victim, it can remain incredibly difficult to rule out suspicious characters. Movies like A Lizard In Woman’s Skin and Murder Rock are overlooked gems in his filmography, but Don’t Torture a Duckling is a crowning achievement that proved his giallo efforts could hang out with the heavyweights. Like other giallo entrants, Lizard features a hauntingly funky score from Ennio Morricone, giallo mainstay George Riguard as Carol’s psychiatrist, and enough vertigo-inducing camera zooms to meet your yearly quota. — Chris Coffel, If you’re looking to dive into the world of giallo films, but aren’t quite yet familiar with the directors that made the genre so successful, then starting with the work of Brian De Palma may very well prove to be your best bet. His naked (metaphorically speaking), poetic soliloquies transported me to treacherous depths of a sadistic frame of mind. Giorgio’s corpse, which is rotting between scene transitions, effectively captures a macabre sensibility necessary for provoking an eerie mood throughout. Perhaps, more than any giallo, Solange can make for a genuinely skin-crawling watch. (Mothers of Monsters) (2020), An Interview with Bestselling Author KL Randis, Feminist-Driven Dystopian Thriller “Level 16”, Oldboy (South Korea, 2003) Asian Horror Movie | Horror Asia, Bedevilled (2010) and the Many Facets of Women, #Pumpkingate or Why Halloween III is the Definitive Halloween Movie for Our Times, Evil Eye (1963) (La ragazza che sapeva troppo), The Crimes of the Black Cat (1972) (Sette scialli di seta gialla), The Young, the Evil and the Savage (1968) (Nude… si muore), Sex of the Witch (1973) (Il sesso della strega), The Case of the Bloody Iris (1972) (Perché quelle strane gocce di sangue sul corpo di Jennifer? All the Colors of the Dark (1972) (Tutti i colori del buio) Director: Sergio Martino. Incorporation of the unidentified assailant convention doesn’t always need to come into play. Numerous nightmare sequences highlighting Fulci’s signature grotesque, monstrous touch also make this a horror fiend’s (like myself) playground. That said, Solange is also one of the most well-executed, intriguingly plotted, and hauntingly scored entries in the genre. A visually enticing combination of psychadelia and Satanic/black magic-infused elements, thrown in with a fantastically creepy blue-eyed stalker, definitely enhance the flavor in a cauldron of boiling confusion. As it is seen through the eyes of it’s subjects. — Rob Hunter, Dario Argento is a name so synonymous with the giallo sub-genre that even his films that do not belong under this umbrella are saddled with the giallo label. And what could be more gialli than that? Learn how your comment data is processed. In turn, their deep-seated animosities lead you to paint each one as a suspect. By the time you reach the end the motivation comes clear as the most basic of human drives, and it closes out on the blackest of comedic notes. Keep reading for a look at the top ten giallo films for beginners as voted on by, If you’re going to dip into giallo, you gotta start with. Her husband, an archaeologist, was murdered in his hotel room, before he planned to unmask an ancient Etruscan secret contained somewhere within an Italian grotto – coincidentally, the same one from his wife’s nightmares. However, it’s a straightforward and compelling mystery that keeps you guessing while providing chills and thrills, which makes it perfect for whetting those burgeoning giallo appetites. Add three lustful sisters accusing one another of murder into the mix – and out comes a stimulating plot, interweaved with non-stop eroticism and twists. Juan Bosch delivers plenty of daring, action-packed sequences, slathered in fisticuffs, gunfire, and a wild car chase. As the genre grew through the 1970’s and 80’s it would begin to envelope all horror movies originating from Italy or it’s filmmakers. Bask in the vibe, don’t worry about connecting the dots. All-girls school? The story follows a fashion house full of models who are being pursued and picked off by a mystery assailant. Lucio Fulci slings more red herrings than a fishmonger, delighting in misdirection, and every giallo standard from spiral staircases to flashback revelations. And what’s not to love about this unhinged piece! No, never mind…I think he’s the one! Lucio Fulci doesn’t fail to deliver Grindhouse elements in his own story adaptation (co-written by Daniele Stroppa) surrounding a paranormal/supernatural father-daughter relationship. Argento’s debut is a masterclass in filmmaking technique and style, with the director borrowing heavily from his greatest influences, mainly Alfred Hitchcock and Mario Bava, and doing so with a confidence rarely seen from a first time director. Luigi Pastore provides a bold and raw experience through his Dario Argento inspired feature film debut, where an unidentified, cold-blooded killer serves as the narrator. A bit of visceral special effects back up an intentionally confusing plot, in which throngs of suspects throw wicked stares at one another. If you’re a fan of slasher flicks you’ll find plenty to enjoy here. Visions of Salvador Dali-esque surrealism, enraptured in flashing lights of different colors, provide a further glimpse into the killer’s distorted perception. It is widely considered his piece de resistance. Three toddlers in a trenchcoat. Argento would go on to direct what is arguably the most well-know Italian horror movie to date, Suspiria. Giallo means yellow in Italian. Mario Bava was on the verge of removing himself from the film business when he was struck with inspiration. What Have You Done to Solange? But where to start? Although no bloodsucking woman of the night ever appeared, I still enjoyed this gothic giallo film, as it reminded me of Halloween season. — Rob Hunter, Read more of our 31 Days of Top 10 Horror lists. Gialli Queen Fenech dazzles as Jane in Sergio Martino’s masterpiece, in which mind-blowing imagery highlights her character’s struggle to decipher reality from fantasy, while on the run from a Satanic cult. Released in Italy as Il Tre Volti Della Paura, The …, Suspiria is a 1977 Italian supernatural thriller directed by Dario Argento. Critically acclaimed for it’s visual style …, The Beyond: The Composers Cut is a live re-score of the Lucio Fulci film by Fabio Frizzi. In terms of genre, gialli run a diverse gambit of horror, drama, mystery, and thriller. In this one, an assailant is killing young boys in a rural superstitious town and everyone is a suspect. She attempts to report the crime to the police, but a body never appears, and they dismiss her testimony as a delusion. But it would be more supernatural horror films like Bava’s Kill, Baby, Kill (1966), Lucio Fulci’s Zombi 2 aka Zombie Flesh Eaters (1979),  Dario Argento’s Suspiria (1977), Lamberto Bava’s Demons (1985), Fulci’s The Beyond (1981) and City of the Living Dead (1980), and Argento’s Phenomena (1985) that would surround and obscure the genre proper with an eerily, yellow-tinged fog. One way or another, the filmmaker’s prime objective relies upon unnerving the fragile human psyche. However, few managed to reach the heights of this treat because Bava was a horror master few filmmakers have ever come close to touching. At times, a plot can enter into unknown territory, and make you question whether a given event actually occurred. At its most basic, the sub-genre mashes mystery with slasher elements to create a whodunnit filled with violence, suspense, and characters threatened by an unseen madman, and Argento’s tale delivers a ridiculously compelling mystery offering numerous twists and violent revelations on its way to a stunner of an ending. Having no clue of what’s truly brewing underneath the facade makes Ruggero Deodato’s gritty gem all the more enthralling to watch. (Sidenote: I recall renting Eyeball from the video rental store ages ago. His other family members – as well as his mistress – didn’t exactly hold the deceased in high regards, as reflected in flashbacks. In terms of genre, gialli run a diverse gambit of horror, drama, mystery, and thriller. Already beset with disturbing, claustrophobic, super gay dreams of vivisected dogs, stalkers, and pipe organs, Carol finds herself a suspect in the murder of the care-free Julia. For what it’s worth, Lamberto Bava’s antagonist employs various killing tactics, which provide a decent quantity of blood spill within this suspenseful slasher dripping of 80s glamour. While the concept is still high, a crime novelist visiting Rome is left taunting notes by a razor blade wielding super-fan, the core elements you look for in a gialli are not only streamlined but have a glossy, bright elegance. Films such as Lucio Fulci’s A Lizard in a Woman’s Skin (1971) and Don’t Torture a Duckling (1972), Luciano Ercoli’s Death Walks on High Heels (1971), Dario Argento’s Deep Red (1975), and Lamberto Bava’s A Blade in the Dark (1983) would provide classic Giallo fodder for filmgoers through the decades. We're always looking for people to contribute great content to our site and/or join our team of staff writers. Or is she merely the hallucination of a man who has gone insane? Should you wish to dig a little bit deeper, though, the movie is actually much smarter and layered than it gets credit for. An Italian reimagining of Alfred Hitchcock’s The Man Who Knew Too Much. The Girl Who Knew Too Much is a convoluted mess of a movie but survives on the stylistic enthusiasm of Bava, and yeah, that’s certainly part of the film’s legacy. The cinema of Giallo is the at the core of the genre itself. Tracking down an unidentified, black-gloved-adorning assailant who’s taking out countless victims whenever they try to reveal a secret, proves to be no easy task. I was made aware of the giallo (Italian slasher/thriller/mystery) sub genre from watching TCM, Bravo, and Rai Italia (Italian language network that aired on weekends). The first film that would be described as Giallo was Mario Bava’s The Girl Who Knew Too Much (1963). Films such as Lucio Fulci’s A Lizard in a Woman’s Skin (1971) and Don’t Torture a Duckling (1972), Luciano Ercoli’s Death Walks on High Heels (1971), Dario Argento’s Deep Red (1975), and Lamberto Bava’s A Blade in the Dark (1983) would provide classic Giallo fodder for filmgoers through the decades. Clearly, the giallo presents itself like a confusing game, in which you may find yourself flustered from shouting, “I think she did it! It wasn’t the first of the sub-genre to exist, but it was the first to make the sub-genre a sub-genre. Maybe she did it!” Obviously, it’s intended to keep you guessing and teetering over the edge until its long-awaited mystery is to be revealed (if there is one).