The “Giallo” film genre emerged in the mid-to-late 1960s, and it peaked in popularity in the 1970s, thanks to the works of directors like Lucio Fulci, Mario Bava, Sergio Martino, Dario Argento, Sergio Martino, and Pupi Avati, among many others. Despite the genre’s subsequent fall in mainstream popularity in the following decades, many filmmakers continue to embrace and draw inspiration from the genre, as evidenced by the works of Edgar Wright (Last Night in Soho (2021)), Martin Scorsese (Shutter Island (2010)), Peter Strickland (Berberian Sound Studio (2012)), James Wan (Malignant (2022)), etc. The Italian word “Giallo,” meaning “yellow,” originated from a series of pulpy crime and mystery novels with yellow covers that were primarily translations of works by well-known American and English authors.
Mario Bava’s 1963 classic, The Girl Who Knew Too Much, is widely recognized as one of the first Giallo films ever made. A Giallo film is typically a murder mystery or horror thriller with elements of slasher, psychological horror, sexploitation, and whodunit. Generally speaking, Giallo films abstain from including supernatural aspects; therefore, films like Suspiria (1977), a masterwork by Dario Argento, do not fit into this classification.
Certain specific characteristics define the Giallo genre. These films usually have murder mystery plots in which people are killed in brutal and exceedingly violent ways, enough to startle audiences. Directors like Dario Argento and Mario Bava came up with elaborate, innovative killing sequences that played a vital role in popularizing the genre. In most of these films, the murderer’s identity remains hidden until the final scene, and the motives are typically rooted in childhood trauma, psychosexual desires, or psychotic behavior. Then there are the Giallo films that incorporate psychological horror elements; they have protagonists who descend into insanity and can’t tell reality from fiction (e.g., The Perfume of a Lady in Black (1974), A Quiet Place in the Country (1968), etc.). Eroticism, nudity, surrealism, dream sequences, and acts of violence against women are also prevalent staples of the Giallo genre, in which the killer frequently targets beautiful women. Additional aspects include themes of voyeurism, where the use of POV shots depicts the killer stalking their victim; the killer’s attire (black gloves and raincoat); knives (a common murder weapon); and lengthy and strange titles, such as “The Case of the Bloody Iris (1972),” “What Have You Done to Solange (1972),” and “The Strange Vice of Mrs. Wardh (1971),” etc.
Giallo films were not known for their character development, groundbreaking stories, or performances but rather for their eerie atmospheric mood, stylish visuals (including eccentric camera angles, vibrant colors, and impeccable art direction that rivaled Hollywood productions), and unforgettable background score (particularly by Ennio Morricone, Bruno Nicolai, and Goblin).
Here are a few honorable mentions that didn’t make the cut but are nonetheless excellent and deserving of your time: The Strange Vice of Mrs. Wardh (1971) by Sergio Martino, What Have You Done to Solange? (1972) by Massimo Dallamano, Your Vice is a Locked Room and Only I Have the Key (1972) by Sergio Martino, The Perfume of the Lady in Black (1974) by Francesco Barilli, and The Girl Who Knew Too Much (1963) by Mario Bava.
Indulge in the stunning, hitherto uncharted territory of the Italian Giallo cinema with these top ten flicks, guaranteed to instill a lifelong love for the genre.
10. The Case of the Scorpion’s Tail (1971) – Sergio Martino
(Read the full review here)
The Case of the Scorpion’s Tail, directed by Sergio Martino, is a wickedly entertaining thriller that possesses all the hallmarks of the Giallo genre: a murderer donning black gloves, eroticism, shocking plot twists, graphic violence, red herrings, stylish direction, and a brilliant score by Bruno Nicolai. Lisa Baumer (Anita Strindberg) departs London for Athens after learning that her wealthy businessman husband died in a freak accident and that she is the recipient of a hefty life insurance policy. However, immediately after landing in Athens, Lisa discovers that other players are aware of the money and are pursuing it, even willing to kill for it. Her biggest fear comes true when a masked killer enters her flat, murders her, and takes her money.
The screenplay of The Case of the Scorpion’s Tail unfolds at a breakneck pace, and the introduction of multiple characters vying for money—with the possibility that one of them is a killer— keeps you on your toes at all times. The killer’s plan of stealing the insurance money and pinning the crime on someone else leads to a couple of gruesome killings with decent gory effects. Not only is the plot twist surprising, but the way it is revealed—via an underwater sequence— is refreshing and exciting to witness. For those interested in delving into the Giallo world, The Case of the Scropion’s Tail is an ideal starting point.
9. Short Night of Glass Dolls (1971) – Aldo Lado
Short Night of Glass Dolls, Aldo Lado’s remarkable debut film, offers one of the most original concepts in the Giallo genre (he also directed a highly underrated horror-thriller, Last Stop on the Night Train (1975), which I reviewed here). A man is discovered in a deathlike paralytic state, in which his mind functions, but his body remains unresponsive. The flashbacks reveal his identity as Gregory Moore (Jean Sorel), an American journalist who was romantically involved with Mira (Barbara Bach). One day, she suddenly disappears, with all her belongings still at her place, and the police suspect Gregory. The film follows a non-linear structure where he must figure out how he got himself into this mess and what became of Mira.
Short Night of Glass Dolls does not feature any serial murderer in a black mask killing people, razor blades, or blood and carnage; instead, it is a psychological thriller with a gripping central mystery. As Gregory delves deeper into Mira’s disappearance, the film becomes progressively spookier as the director cleverly employs Giallo tropes to convey political unrest and fascism. Additionally, the climactic scene is suspense filmmaking at its best, and the final freeze shot (which has to be one of the best uses of freeze shots in cinematic history) is a gut punch that is both disturbing and nightmarish. The film has some visceral imagery that will stay with you long after you’ve seen it, and the score by Ennio Morricone is the cherry on top, adding an extra layer of dread. Short Night of Glass Dolls isn’t perfect, but Aldo Lado expertly executes most of the film’s original ideas, making it a must-watch.
8. The House with Laughing Windows (1976) – Pupi Avati
Another highly creative work in the Giallo genre on this list is Pupi Avati’s The House with Laughing Windows, which works brilliantly within the confines of the folk-horror milieu. Stephano (Lino Capolicchio), a young restorer, is hired by the mayor of a small town, Solmi (Bob Tonelli), on the recommendation of Stephano’s friend Antonio (Guilio Pizzirani), to restore a fresco of what appears to be the killing of Saint Sebastien. The mysterious, dead artist responsible for the artwork, Buono Legnani (Tonino Corazzari), was known as “The Painter of Agony” due to his obsession with painting dying people, a practice he carried out with the help of his sisters. Stephano becomes fascinated with Buono’s enigmatic past and decides to learn more about the artist. Stefano reaches out to his friend Antonio, who possesses knowledge about the artist’s dark secret; however, just as they are about to meet, Antonio is murdered. This incident sets Stefano on a path of investigation, leading him deep into the underbelly of the sleepy community’s darkest secrets.
What makes this film intriguing is how, one by one, the town’s filthy secrets and haunting past come to light through a single painting and the artist who created it. Rather than elaborate killing sequences, Pupi Avati focuses more on the world-building of the quiet, small town. With yellow and green cinematography and a haunting score, he creates isolation and dread around the protagonist the more he digs deep into the life of Legnani. The unexpected final reveal about the killer and their motivations for keeping Stephano in the dark about Legnani is unsettling since it deals with issues like human sacrifice and resurrection (though the reveal could have used more visuals in the film). Additionally, the film’s climactic scene is an absolute shocker and a genuine “What the F**k” moment. Lino Capolicchio gives a solid performance as Stephano; he brings likability to the role and successfully draws in viewers who empathize with and root for him.
7. The Psychic (1977) – Lucio Fulci
(Read the full review here)
Lucio Fulci, a director most renowned for his gory masterpieces, directed The Psychic, a riveting murder mystery that is one of his most underappreciated works. Virginia Ducci (Jennifer O’Neil), a lady with psychic abilities married to a wealthy businessman, Francesco (Gianni Garko), has a vision and tears into a wall in her husband’s abandoned mansion that she is renovating, only to discover a corpse inside. Following the conclusion of the forensic investigation, she learns that the skeleton belonged to a lady who was Francesco’s ex-girlfriend. As a result, this leads to Francesco’s arrest on murder charges, and Virginia and her parapsychologist friend Luca (Marc Porel) launch an investigation into the victim’s death, where they stumble onto some terrible secrets that can spell disaster for Virginia.
The film effectively implements compelling procedural elements where Virginia, aided by the visions she is experiencing, begins investigating the girl’s death. An unexpected turn of events at the start of the third act—possibly the best twist in Giallo history—propels the remainder of the film into suspense. Fulci expertly manages this transition by raising the stakes and building tension and excitement leading up to the last shot. Sergio Salvanti’s score plays a vital role in elevating the film because it perfectly complements the film’s tone, and one tune in particular (Tarantino uses the same tune in Kill Bill) that plays towards the end helps in the discovery of a crucial piece of information. The Psychic is a deliciously moody suspense thriller that you shouldn’t miss.
6. Tenebrae (1982) – Dario Argento
Tenebrae is a signature Argento serial killer film that marked his comeback to the Giallo genre. The idea for the film came to him after being stalked by a fan. Peter Neal (Anthony Franciosa) is a successful American novelist who writes violent horror books and has traveled to Rome to promote his most recent novel, Tenebrae. Soon after his arrival, killings begin, and the serial killer appears to be influenced by Peter Neal’s works. The killer is murdering women he considers filthy and corrupt, employing the methods detailed in the book, and regards Neal as a companion and friend. As the death toll rises, the police are clueless and under pressure to apprehend the killer before more people die.
Tenebrae allows Argento to do what he does best: choreograph death sequences, and there are several standouts here. One such sequence depicts a woman on her way home when a homeless man starts stalking her, which Argento uses as a distraction. When she gets into her house, the actual killer (whose only black-gloved hands are visible) attacks her out of nowhere and slashes her throat. There is another one in which a girl is attacked and chased by a dog, and she eventually finds herself in the home of the serial killer, who ends up killing her. The entire sequence, which is gripping and full of nerve-racking moments, is the film’s high point. In addition to expertly staged scenes, the film’s inclusion on this list is due to Argento’s examination of themes like sexual deviancy and repressed trauma. Tenebrae also contains metafictional elements that allow him to delve into the senselessness of the killings and respond to criticism about the portrayal of violence and sexuality in his works, particularly towards women.
5. All the Colors of the Dark (1972) – Sergio Martino
All the Colors of the Dark is my favorite of Sergio Martino’s six Giallo films. It’s an absolutely bonkers film that has eroticism, voyeurism, a satanic cult, and an incredible trippy psychedelic journey from start to finish. Jane Harrison (Edwige Fenech), who lives in London with her salesman boyfriend, Richard (George Hilton), is dealing with two severe traumas: the loss of an unborn baby in a car accident and the murder of her mother when she was a child, which has caused her to have nightmares about a knife-wielding, blue-eyed man (Ivan Rassimov) stalking and killing her. Richard gives Jane blue tablets to cure her condition, but her sister Barbara (Susan Scott), who works as a psychiatrist’s assistant, wants her to seek medical attention and suspects Richard of foul play. Meanwhile, Jane meets and befriends her new neighbor Mary (Marina Malfatti), who proposes she join a cult to alleviate her concerns, which she does, only to exacerbate her condition and make her life a living hell. How is she going to get out of this?
By having the audience view the film through Jane’s unreliable perspective, Sergio Martino effectively generates confusion and blurs the line between dreams and reality. The film becomes even more interesting when Jane joins the cult, and the reveal, which mainly concerns the satanic cult that is deeply ingrained in her life and past, as well as the identities of the cult’s leaders, is both shocking and rewarding. Bruno Nicolai’s outstanding score contributes to a suspenseful atmosphere, especially in scenes where Jane attends cult gatherings. Edwige Fenech, whom I call the “Giallo Queen,” is a sight to behold as she bares it all and delivers a standout performance as a troubled woman. She is voluptuous, sexy, and beautiful, and you can’t take your eyes off her throughout the film.
4. Don’t Torture a Duckling (1972) – Lucio Fulci
(Read the full review here)
Don’t Torture a Duckling, arguably one of Lucio Fulci’s best works is a gripping small-town murder mystery that deftly examines the themes of guilt, superstition, and perversion. The film takes place in the sleepy small town of Accendura, where a string of brutal child murders has shaken the community to the core. While the authorities are led astray by every lead, Andrea Martelli (Thomas Milian), a journalist from Rome, along with a promiscuous young woman, Patrizia (Barbara Bouchet), decide to take matters into their own hands to uncover the truth and put an end to the brutal killings of children.
The film’s clever screenplay does a fantastic job of keeping the viewers busy and preventing us from guessing who the actual culprit is. It accomplishes this by presenting a suspect and going as far as even convicting him, almost convincing the audience that that person is the perpetrator before a minor detail emerges to prove their innocence. As a result, we are entirely captivated and compelled to focus our full attention on that specific suspect. The makers nail the small-town setting, which is visually appealing but also manages to evoke a sinister vibe in that town, populated with narrow-minded, superstitious, and god-fearing people. The final reveal of the killer’s identity is effective because Fulci uses that to call into question some of the Roman Catholic Church’s religious beliefs. The film also has extremely graphic visuals and macabre brutality that Fulci subsequently became famous for, particularly in a scene where a girl is lynched by villagers using an iron chain. It’s not for the faint-hearted.
3. The Bird with the Crystal Plumage (1970) – Dario Argento
Dario Argento’s directorial debut, The Bird with the Crystal Plumage, is widely considered the film that popularized the Giallo genre worldwide. A masterwork of its kind, this film skillfully combines elements of a deadly thriller plot with stylized violence and an unsettling atmosphere, thanks to the collaboration of cinematic titans like Dario Argento, cinematographer Vittorio Storaro, and composer Ennio Morricone. In Italy, an American writer, Sam Dalmas (Tony Musante), observes a man in a raincoat and black gloves attempting to murder an art gallery owner, Monica Ranieri (Eva Renzi). Inspector Morosini (Enrico Maria Salerno) believes she is the surviving victim of a notorious serial killer who has previously killed three women. When the police fail to find any answers, Sam starts his amateur investigation, but the killer is now after him and his girlfriend, Julia (Suzy Kendall).
The film is an excellent example of how to use point-of-view shots and unorthodox camera angles to create discomforting feelings among the audience, especially in a scene in which the killer stalks a girl to her home. As she lies in bed, smoking, he unexpectedly appears in the doorway, as seen from her point of view, and murders her. Additionally, this film exemplifies how an effective score can heighten tension and dread. For instance, a terrifying painting plays a vital role in the film’s plot. So, Argento wants us to feel uneasy every time we look at that artwork. To achieve this visually, Storaro dollies towards the painting slowly, and Morricone’s gentle yet haunting tune slowly plays in the background, creating a chilling aura around that painting. The film also benefits from a surprisingly endearing love story between Sam and Julia that enables us to root for them and fear for their lives, resulting in some thrilling moments, especially the one in which the killer tries to enter Julia’s house to kill her.
2. Blood and Black Lace (1964) – Mario Bava
(Read the full review here)
Sixty years after its initial release, Mario Bava’s Blood and Black Lace, one of the earliest Giallo films, remains a seminal and highly influential work in the genre. Isabella (Francesca Ungaro), a young model working at a Roman fashion house run by Massimo Morlacchi (Cameron Mitchell) and recently widowed Countess Christina Cuomo (Eva Bartok), is murdered by a masked, mysterious figure. When Isabella’s diary, which includes incriminating information against the killer, disappears, the killer embarks on a killing spree, murdering models at the fashion house to acquire the diary.
The plot of Blood and Black Lace is nothing new since it deals with love, jealousy, and betrayal, but the screenplay’s structure keeps the film engaging. The first two acts consist of meticulously staged death sequences, particularly the one in the antique shop, which is undeniably the best scene in the film. The unexpected revelation of the killer’s identity at the end of the second act sets the stage for an incredibly suspenseful third act, where the killer’s dubious intentions provide the ideal climax. Blood and Black Lace also has impeccable production values for a low-budget film and features some iconic and unforgettable visuals that horror fans reminisce about to this day. One such visual features two lifeless bodies lit from below, which makes it look sinister, while another depicts a woman’s lifeless body lying in a bathtub as blood drenches her face. The bathtub scene has been imitated in several films, including J. Lee Thompson’s Happy Birthday to Me (1981), Martin Scorsese’s Kundun (1995), and Dario Argento’s Two Evil Eyes (1990).
1. Deep Red (1975) – Dario Argento
Dario Argento’s Deep Red is unquestionably my favorite Giallo film, showcasing his exceptional visual storytelling skills and creative genius, which few people possess. Marcus Daly (David Hemmings) is a musician in Rome who witnesses the murder of a well-known psychic, Helga Ullman (Macha Meril). After a fiery reporter named Gianna (Daria Nicolodi) publishes his picture as the only witness in the newspaper, Marcus feels compelled to become involved and solve the case before the killer catches on to him. Gianna and Marcus then start to work together to unravel the mystery. But the killer is one step ahead of them at every turn, and Marcus faces an uphill battle to find the killer before he becomes the victim.
Not the film’s plot per se (which isn’t exactly revolutionary), but rather Argento’s execution of that plot is the determining factor in my continued fascination with this film. His ability to conjure up wildly innovative ways to terrify the audience out of thin air is on full display here. For instance, he depicts a plethora of crazy things, like one character killed by drowning in a hot water bathtub, causing his face to swell; another is dragged to his death by a truck, and his head is smashed to a pulp by a passing car; a mechanical doll materializes out of nowhere to terrify and distract the victim while the murderer enters through the window and attacks him; another character is curb stomped to death; a clue is found in the fog that the hot water creates; Marcus scrapes the plaster off a wall to uncover another clue; a hidden, walled-off room revealed inside an abandoned house; and lastly, the reveal of the killer is as imaginative as it gets. Additionally, whenever a kill is about to happen, the film’s musical theme (composed by Gobline) plays, which takes the terror factor to another level. Deep Red is a masterpiece of the Giallo genre and an absolute must-watch.
Deep Red movie links: Letterboxd
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