The Killer Must Kill Again 1975 Dvd
Color, 1975, 86m. / Directed by Luigi Cozzi / Starring George Hilton, Antoine Saint-John, Femi Benussi, Cristina Galbo, Alessio Orano, Teresa Velazquez / Mondo Macabro (US R0 NTSC) / WS (2.35:ane) (16:ix)
While dumping a corpse off a alone dock at nighttime, a pasty murderer (The Beyond'southward Saint-John) is spotted by an unscurpulous businessman, Mainardi (giallo regular Hilton), who decides he'southward stumbled onto a flake of good fortune and, in a darkened movie theatre, utilize the killer's
talents (via a hefty cash offer and some not-as well-subtle blackmail) to dispose of Mainardi'due south clueless blonde wife (Velazquez). While Mainardi is off hobnobbing with his assembly, the killer accomplishes the deed and deposits the body in the trunk of a waiting auto - which is promptly stolen by a immature joyriding couple, Luca (Lisa and the Devil's Orano) and Galbo (The House that Screamed's Galbo). While Mainardi fends off the law who suspct there's more than to the situation than meets the centre, the killer tracks down the auto thieves to a desolate seaside cottage, his almost barbarous instincts are unleashed. Easily indebted to Alfred Hitchcock more than whatsoever other 1970s giallo, this striking thriller from Cozzi (whose later output displayed a precipitous drop in care and interest) plays like what might happen if Brian De Palma got hold of an Italian cast while in Rome. The plot plays like an particularly nighttime hybrid between Strangers on a Train (the murder-swapping protagonists and a vital cigarette lighter which plays a role in the denouement), Punch M for Murder (the scheming rich man who arranges his wife's murder while off at a dinner party and has to cover upwardly his tracks subsequently), and Frenzy (notably an 
extended second human activity rape scene filmed entirely in disorienting close ups). All the same, Cozzi uses these elements to his advantage past placing Hitchcock's well-tested plots as a springboard for a surprising, ofttimes nasty concatenation of events in which each graphic symbol'south baser inclinations atomic number 82 them deeper and deeper into trouble.
Among the best of her peers, the cute Galbo takes superlative acting honors for her stellar work here; when pitted against the creepy Saint-John, the film ratchets up the tension to a surprisingly loftier level and pays off with a chilling climax. Orano is his usual bare-eyed self, which is fine, while the ever enjoyable Hilton does the shifty rich guy flake he perfected in a cord of titles for Sergio Martino. Displaying a surprisingly assured visual style, Cozzi wisely sets nearly of the film at dark and makes splendid use of his blackness-shrouded scope compositions punctuated with vivid bursts of colour, such as the dazzling yellow inside Mainardi's dwelling house. (This would brand a great aesthetic co-feature with The Fifth Cord).
The second of Mondo Macabro'southward giallo releases (after the nutty Death Walks at Midnight), this rarely seen and wholly underrated film gets a very respectable presentation. The transfer looks marvelous, with dead-on widescreen framing and nary a flaw or nick in sight. Colors and detail wait excellent. (Notation that the end credits brand use of the picture show's original export championship, Il Ragno or "The Spider," explaining the spiderweb motif of the credits.) The disc defaults to the English language soundtrack but can as well be played with the Italian soundtrack, with optional English subtitles; the latter is actually 
preferable as the majority of the film was clearly shot in Italian (and later looped in both versions). Both soundtracks exhibit some crackling and signs of deterioration, but they're all the same acceptable and won't offer many distractions.
Cozzi and Mondo Macabro's Pete Tombs contribute an enjoyable audio commentary; a veteran co-writer and behind-the-scenes man from the genre's aureate years including stints on Argento'due south landmark animate being trilogy, Cozzi offers some valuable insight into the methods and madness of giallo filmmaking during the 1970s. He never runs out of stories and conspicuously remembers even the smallest details virtually the participants and locations, making this a valuable historical treat for fans. Cozzi also turns in two video supplements, "Road to the Killer" (a sketch of his career during that decade and the circumstances leading to the moving-picture show's product) and "Initials D.A.," an account of his days working with Argento (a partnership notwithstanding continuing to this twenty-four hours). Another video extra, "The Giallo Genre," is repeated from the before Death Walks at Nightnight disc, offering a somewhat altered version of an episode from the priceless Eurotika series (but with several clips removed in exchange for affiche montages). Also included are the original Italian main title sequence (from a fuzzy-looking VHS source), the theatrical trailer (under the appropriate title The Nighttime Is Death'due south Friend), iii galleries, production notes by Tombs, cast and coiffure bios, and the ubiquitous Mondo Macabro promo reel. Fans may gripe that surviving actors similar Hilton aren't present, though given his sketchy memories on the DVD for All the Colors of the Dark, information technology's doubtful how much he could have contributed. Highly recommended.
extended second human activity rape scene filmed entirely in disorienting close ups). All the same, Cozzi uses these elements to his advantage past placing Hitchcock's well-tested plots as a springboard for a surprising, ofttimes nasty concatenation of events in which each graphic symbol'south baser inclinations atomic number 82 them deeper and deeper into trouble. preferable as the majority of the film was clearly shot in Italian (and later looped in both versions). Both soundtracks exhibit some crackling and signs of deterioration, but they're all the same acceptable and won't offer many distractions. Source: https://www.mondo-digital.com/killermust.html
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