Alles an dem Film ist so cool sorry, die Kamera? das Licht? die Hauptfigur? Wie gibt es eine bessere Weibliche protagonistin in einem Film von 1963 als heutzutage. Der Humor ist so quirky? Ihr dümmlicher Doktor-Freund? Das Ende geht unfassbar Hart.
Top 10 Filme um mit dem Rauchen aufzuhören.

"Don't look so disappointed. When the time comes, you'll know it by the sound of my voice. By the way I say your name. Go now. Please..."

"There - that door. The threatening door with its invisible hinges. The door that was forever locked. She must open it. She felt that the solution to the mystery lay behind it. The solution to all her anguish and fears. She had to open it. She had to find the courage to walk through the threshold."

Alles an dem Film ist so cool sorry, die Kamera? das Licht? die Hauptfigur? Wie gibt es eine bessere Weibliche protagonistin in einem Film von 1963 als heutzutage. Der Humor ist so quirky? Ihr dümmlicher Doktor-Freund? Das Ende geht unfassbar Hart.
Top 10 Filme um mit dem Rauchen aufzuhören.

"Don't look so disappointed. When the time comes, you'll know it by the sound of my voice. By the way I say your name. Go now. Please..."

"There - that door. The threatening door with its invisible hinges. The door that was forever locked. She must open it. She felt that the solution to the mystery lay behind it. The solution to all her anguish and fears. She had to open it. She had to find the courage to walk through the threshold."

Bless you Mario Bava for paving the path to Giallo excellence.

A film about being gaslit into submission. When holding the truth of your lived experience against a sea of invalidation is too isolating to bare. Fake it till ya make it, manifest yourself out of the truth and into complacency. Ignorance is bliss, baby!

“I’m not quite as alone as you think.”

Bless you Mario Bava for paving the path to Giallo excellence.

A film about being gaslit into submission. When holding the truth of your lived experience against a sea of invalidation is too isolating to bare. Fake it till ya make it, manifest yourself out of the truth and into complacency. Ignorance is bliss, baby!

“I’m not quite as alone as you think.”

Basically invented the giallo genre! This was an outstanding little murder thriller. I wish they would’ve kept the original name for the English release, switching from the woman who knew too much to evil eyes but having seen the movie I understand why the change was made. Bava once again delivers some incredible black and white imagery here. The performances are great (I unfortunately watched the dub). Films like this really live or die on their ending and this one really stuck the landing. Definitely a really fun watch!

Basically invented the giallo genre! This was an outstanding little murder thriller. I wish they would’ve kept the original name for the English release, switching from the woman who knew too much to evil eyes but having seen the movie I understand why the change was made. Bava once again delivers some incredible black and white imagery here. The performances are great (I unfortunately watched the dub). Films like this really live or die on their ending and this one really stuck the landing. Definitely a really fun watch!

The girl who knew too much is about a girl who’s just lost all the time. It is a very hitchcockian whodunit that’s quite fun but that really reaches more than that. Bava’s close-up and shadows sure do serve to elevate this whatever script. It is kind of a demo to Lisa and the Devil, both being about tourists getting into strange situations, except here he has to work with the corniest lines and there he has basically no script. Also I just feel like Bava works better in color, although I haven’t seen his most well regarded B&W film yet (Black Sunday). He is a filmmaker who approaches the artform as more of a composer than a storyteller, and a big part of the appeal of that is the strong colors and lights and smoke you can find in most of his color films. This does still feel like a fully formed film though, and, despite the obvious riffs and limitations, I did have a blast.

The girl who knew too much is about a girl who’s just lost all the time. It is a very hitchcockian whodunit that’s quite fun but that really reaches more than that. Bava’s close-up and shadows sure do serve to elevate this whatever script. It is kind of a demo to Lisa and the Devil, both being about tourists getting into strange situations, except here he has to work with the corniest lines and there he has basically no script. Also I just feel like Bava works better in color, although I haven’t seen his most well regarded B&W film yet (Black Sunday). He is a filmmaker who approaches the artform as more of a composer than a storyteller, and a big part of the appeal of that is the strong colors and lights and smoke you can find in most of his color films. This does still feel like a fully formed film though, and, despite the obvious riffs and limitations, I did have a blast.

I don’t have much to say about this film. I’ve seen it be called the “first” Giallo and I would definitely agree. Many of the genre standards can be seen throughout the film and I love how they are established here. The technical aspects are all phenomenal, however, I really only have problems with the tonal shifts in the film.

It first plays out as a typical Giallo would, but then morphs into this over-the-top, almost satirical film with many downright silly moments. I love Bava, from the work of his that I’ve seen, but sticking with the tone that was present in (most of) the second half of the film, and some moments in the first, would’ve made this a more enjoyable watch for me. As I understand, I watched the American International Pictures version of the film (titled: The Evil Eye), wherein, many scenes were cut or added to place greater emphasis on the comedic aspects, so I don’t think the shifts were Bava’s doing. Either way, I liked the film a lot.

Mario Bava is an absolute master and his pioneering of the Giallo genre has led to many, many great thriller/noir films. It was definitely interesting to see John Saxon here too, as he was one of the last people I was expecting to show up in the film. Finally, the shots of memories, or ‘hazy’ vision, were awesome, with this weird warbling effect that I’ve never seen used before. Overall, this is a great film and seeing the birth of so many standards for a genre in one film was quite cool.

I don’t have much to say about this film. I’ve seen it be called the “first” Giallo and I would definitely agree. Many of the genre standards can be seen throughout the film and I love how they are established here. The technical aspects are all phenomenal, however, I really only have problems with the tonal shifts in the film.

It first plays out as a typical Giallo would, but then morphs into this over-the-top, almost satirical film with many downright silly moments. I love Bava, from the work of his that I’ve seen, but sticking with the tone that was present in (most of) the second half of the film, and some moments in the first, would’ve made this a more enjoyable watch for me. As I understand, I watched the American International Pictures version of the film (titled: The Evil Eye), wherein, many scenes were cut or added to place greater emphasis on the comedic aspects, so I don’t think the shifts were Bava’s doing. Either way, I liked the film a lot.

Mario Bava is an absolute master and his pioneering of the Giallo genre has led to many, many great thriller/noir films. It was definitely interesting to see John Saxon here too, as he was one of the last people I was expecting to show up in the film. Finally, the shots of memories, or ‘hazy’ vision, were awesome, with this weird warbling effect that I’ve never seen used before. Overall, this is a great film and seeing the birth of so many standards for a genre in one film was quite cool.