#Antonio Bido

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Solamente nero (1978)

AKA The Bloodstained Shadow; Only Blackness

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WATCH ME WHEN I KILL Reviews and free on Plex, Tubi, YouTube

 ‘When I go beserk…you’re better off dead’ Watch Me When I Kill is a 1977 Italian giallo thriller film directed by Antonio Bido (The Bloodstained Shadow); it stars Corrado Pani, Paola Tedesco and Franco Citti. Trans Europa Express provide the Goblin-influenced score. The original Italian title is Il gatto dagli occhi di giada (“The Cat with Jade Eyes”) and it is also known as The Cat’s…

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Watch Me When I Kill

Antonio Bido’s WATCH ME WHEN I KILL (1977, Shudder, Tubi, Plex) — aka “The Cat’s Victims” (what cat?) aka “The Cat with the Jade Eyes” aka “Terror in the Lagoon” (what lagoon?) aka “The Vote of Death” — keeps trying to be a decent giallo, but its budget, a bad leading lady, wildly inconsistent dubbing and some unfortunate writing choices keep getting in its way. Dancer Paola Tedesco is highly in demand. Her dancing partner (hunky Giuseppe Pinesse) wants to date her. A director (Roberto Antonelli) and playwright (Paolo Malco) want her for their new production. Her choreographer (Bido) wants to teach her a new routine, though if he had any sense, he’d be happy if she would just move like a dancer. And the killer she briefly overheard wants her out of the way. Fortunately, her on-and-off boyfriend (Corrado Pani) wants to save her hide by solving the case.

There are some effective shots and weird moments, as when Pani tries to interview an ancient dementia patient while an insistent contralto in another room sings to a group of sleeping old ladies. But there are also truly stupid jump scares. Pani has good physicality and is well-dubbed; he sounds like he stepped in out of a Hollywood detective film. But there are also blandly generic voices in leading roles and an incongruous British accent for one character. Tedesco hardly seems to justify anybody’s interest (the killer used a fake voice when she heard him, so his pursuit doesn’t make sense). She’s not that beautiful, she dances like a failed Miss Arkansas contestant, and her facial expressions and physicality seem like copies of every other bad Italian scream queen. The film could also use better special effects. It’s not just that one victim’s face is forced into a clearly cold oven that’s supposed to be blazing hot, but also that when they cut to her scalded face, it’s clearly a dummy. The hair doesn’t even match (or does a blazing oven give one an instant perm; I’m not willing to test that theory).

And yet, there are ideas in the film that make it more interesting than most lesser gialli. The trauma is rooted not in some past sexual or emotional abuse, but rather in World War II, and as Pani investigates he keeps moving through rooms filled with echoes of Italy’s past, a fascinating contrast with the more antiseptic living spaces shown earlier in the film. Trans Europe Express (not to be confused with the Kraftwerk album) scores some good suspense music, with echoes of Ennio Morricone, though they also put some musical wallpaper behind less tense scenes. The best use of music, though, isn’t theirs. As one potential victim takes a bath, he’s listening to Verdi’s Requiem. It’s the tenor solo before the chorus reiterates the “Dies Irae” theme, which hits just as the killer attacks. I’ll happily get behind any director who can pull off an effect like that, even one who makes me watch Tedesco pretend to dance twice.

[mimsyfarmerfanclub]

The Bloodstained Shadow (1978) by Antonio Bido

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Solamente nero (1978)

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Solamente Nero (Antonio Bido, 1978)

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Bloodstained Shadow (1978)

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The Bloodstained Shadow - Antonio Bido

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The bloodstained shadow / Solamente nero - 1978 (Antonio Bido)

[brokehorrorfan]

Blu-ray Review: Watch Me When I Kill

Watch Me When I Kill is a relatively obscure Italian giallo film from 1977, but it delivers on all the staples that make the subgenre so enjoyable: a well-plotted mystery, violent death scenes, stylish camerawork, and a progressive rock score. It also boasts a verbose yet tantalizing title in all territories; it's also known as The Cat with the Jade Eyes (Italy), The Cat’s Victims (UK), Terror in the Lagoon (France), and The Vote of Death (Germany).

The murder-mystery is set into motion when nightclub dancer Mara (Paola Tedesco, Battle of the Amazons) witnesses a killer fleeing a crime scene. Believing that she's intended to be his next victim, Mara moves in with her boyfriend, Lukas (Corrado Pani, Rocco and His Brothers), for safety. Bodies continue to turn up as they race to determine the ruthless murderer's identity.

Watch Me When I Kill is comparable to - and some might even argue derivative of - Dario Argento's giallo work circa Deep Red. The film's stalking scenes, of which there are several, are masterful. Director Antonio Bido (Bloodstained Shadow) sets voyeuristic point-of-view shots by cinematographer Mario Vulpiani (Castle Freak) to propulsive prog rock instrumentation.

The Argento imitation extends to the score, which could be mistaken for his frequent collaborators Goblin; particularly their landmark work on Suspiria, Deep Red, and Dawn of the Dead. The music is, in fact, credited to Trans Europa Express, a one-off group of session musicians. The band features Mauro Lusini, who went on to provide vocals on Goblin's 1982 album, Volo. It's truly a shame they didn't record more music together.

Where the film falters is in the procedural aspects, in which writer Vittorio Schiraldi positions an abundance of undeveloped characters as red herrings. But the killer's ultimate motive is an interesting - and perhaps even sympathetic - one. The death sequences aren't particularly gory or inventive, but they're mean-spirited, which match the motive. Eschewing the giallo standard of black leather, the switchblade-wielding killer dons white surgical gloves.

Watch Me When I Kill arrives on Blu-ray courtesy of Synapse Films with a gorgeous 4K restoration from the original negative. It features DTS-HD MA English and 2.0 mono Italian (with English subtitles) soundtracks, plus an isolated music-only track. A bonus CD featuring Trans-Europa Express' full score is also included; it stands out as one of the more cohesive and effective giallo soundtracks under Goblin's influential shadow. The release features a reversible cover, with the Italian artwork on the other side.

Extras are led by an audio commentary with Nathaniel Thompson. The fast-talking film historian is thorough with information not only about the film and its players but also giallo cinema at large, providing valuable context. Dr. Mikel Koven, senior lecturer in film studies at the University of Worcester, provides an 11-minute "defense" of the film, which is a rather thoughtful appreciation. The original English title sequence, the U.S. trailer, a TV spot, and radio spots are also included.

Last but not least are three recent shorts written and directed by Bido: 2015's Danza Macabra, 2017's Mendelssohn Im Judischen Museum Berlin, and 2018's Marche Funebre D’une Marionette. Not only is the filmmaker still active, but he has retained his panache. Each piece has no dialogue, instead utilizing classical piano compositions to accompany a visual story. Based on the strength and resurgence of Watch Me When I Kill, coupled with these shorts that dabble in the genre (particularly Danza Macabra), it would be great to see Bido tackle another horror feature soon.

Watch Me When I Kill is available now on Blu-ray and DVD via Synapse Films.

[thechemistryset]

Antonio Bido Solamente nero 1978

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The Bloodstained Shadow (1978) dir. Antonio Bido

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watch me when i kill (bido, 77)

[johnnymundano]

Watch Me When I Kill (1977) AKA Il gatto dagli occhi di Giada, The Cat's Victims (U.K.), Terror in the Lagoon (France) and The Vote of Death (Germany)

Directed by Antonio Bido

Screenplay by Antonio Bido

Music by Trans Europa Express

Country: Italy

Running Time: 110 minutes

CAST

Corrado Pani as Lukas

Paola Tedesco as Mara

Franco Citti as Pasquale Ferrante

Fernando Cerulli as Giovanni Bozzi

Giuseppe Addobbati as Judge

Gianfranco Bullo as Santoro, the pharmacist's assistant

Jill Pratt as Signora Dezzan (as Yill Pratt)

Bianca Toccafondi as Esmeralda Messori

Inna Alexeievna as Old woman

Paolo Malco as Carlo

Cristina Pirasas as Pasquale Ferrante's wife

Roberto Antonelli as Michele

Gaetano Rampin as Dott. Peretti

Giuseppe Pennese as Marco

Giovanni Vannini as Biagio Dezzan, the pharmacist (as Giovanni Vanini)

Watch Me When I Kill may be an unsavoury invitation in normal circumstances, but here it’s one well worth taking up, since it is also a particularly satisfying 1977 giallo. It’s a giallo from early in the cycle so it also works as a movie normal people might also like; there is still enough room amongst the stylistic tics for Antonio Bido to smuggle in what is basically a proper thriller movie.  Very much like Short Night of the Glass Dolls (1971) and The Perfume of the Lady in Black (1974), Watch Me When I Kill exceeds genre expectations; largely because  the genre trappings are a lure rather than being the whole point (which is what happens to later giallo; not a criticism, just an observation).

Returning from a trip abroad, bra-disdaining tango dancer Mara (Paola Tedesco) tries to pick up some pills from a pharmacist (Giovanni Vannini). Unfortunately the pharmacist has had his worried beard rubbing interrupted by being slashed to death, and it is the killer who turns Mara away claiming the shop is shut. Fearing she can identify him/her the killer then stalks Mara, leading Mara to seek the aid of affable old flame Lukas (Corrado Pani). Lukas is a sound engineer, or a detective or some combination of the two, or maybe even just someone with no job but very interesting hobbies; it’s not very clear. What is clear is that his investigations into weird phone calls received by his neighbour, Bozzi (Fernando Cerulli), may dovetail nicely with identifying Mara’s stalker. Meanwhile, a couple of creepy producer guys vie to bed Mara under the guise of attaching her to their project. Which I thought was, you know, because…the ‘70s be creepy, but then I realised it’s more because…producer guys be creepy. Kind of #METOO: 1970s edition. Winningly, Mara doesn’t put up with their shit, so she’s mostly bothered about who is trying to off her. Particularly when it becomes apparent that other people are being offed and there is a vengeful escaped convict on the loose. Mystery, murder, red herrings, historical wrongs, black gloves, switchblades, POV with an asthmatic soundtrack, romance, ridiculous coincidences, stylish shots, peppy soundtrack noodlings from Trans Europa Express, sweet fashion stylings, an impressive waterfall and, naturally, tango dancing; Watch Me When I Kill serves up a stew as giallo-tastic as the literal stew which scalds a luckless victim to death.

Just a word to potential viewers: While Mara was performing her, uh, entertaining tango act she seemed to be singing about how awful WW1 was, how big Rudolph Valentino’s ear were and something about Mata Hari being hit in the chest. Maybe that is what tango is usually about, I don’t know; it’s more familiar as a fizzy soft drink where I come from. Why yes, I am a cultureless slob. That was the most egregious example but I think it has to be (reluctantly) said that the subtitles were a bit lacking on the version I watched. The subtitler’s Italian was obviously immaculate but there was a stilted air to the English output. Which is a bit pissy , I realise, since I can barely handle my own language, but there you go. Whenever possible I watch foreign movies with the subtitles on as I like to hear the original vocal inflections, not the forced approximations of dubbing. (No offence to dubbers; it’s a tough gig.) I just don’t get people who react to subtitles like someone has threatened to push their grandma over. Have you seen them in reviews? “Switched off. Had SUBTITLES. WTF?!?” Yeah, you just ignore most of the world’s cinematic output because…reading? Is reading that big an ask these days? Wait until they discover books, they’ll shit. “Threw it away. Had WORDS! WTF?!?” But I digress, again. Where was I …big ears…tango…subtitles…okay…clues! That’s where I’m going, clues!

Yes, Watch Me When I kill actually has clues. This doesn’t sound much, but if you watch enough giallo actually finding one where there are real clues is delightfully refreshing. Giallo veterans quickly become inured to bullshit clues like the cry of a bird in the background of a phone call which, when run through a computer containing all the sounds in the history of the world, reveals the call’s source. I’m not complaining, the ridiculous clues are part of the genre fun, but equally when you find a giallo where you are not laughing out loud at the clues, but rather cursing yourself for missing them, well, it’s like a cool breeze on a hot face, possibly a face hot from being scalded by a yummy stew. The mystery actually stacks up too. I don’t condone the actions of the killer in Watch Me When I kill, but I understand the actions of the killer in Watch Me When I Kill. Usually it’s just that they are nuts. This one is nuts too, but for once you can kind of see why.

And it’s not just clues; trampling the giallo stereotype underfoot, Watch Me When I Kill has some time for characterisation. Corrado Pani as Lukas is particularly fun, looking like a jolly Charles Bronson but acting like a shambly Elliot Gould. It’s a good combination, even better when Paola Tedesco’s Mara is around. There’s a lovely light romantic-comedy/buddy-movie vibe when the two are onscreen. They are lovers but also, clearly, friends and have a charmingly blasé approach to their relationship, which they wear like a much loved, tatty jumper. It would be the equal of Hemmings and Nicolodi in Deep Red (1975), but there isn’t enough of it, alas. Unfortunately it’s the ‘70s so Lukas has to go it alone and do the manly thing of investigating, while Mara stays at home to be threatened occasionally. She’s not as bad as most ‘70s heroines though; she does figure things out, is up for a scrap and I would definitely go and watch her Celebration of WW1 & Rudolph Valentino’s Big Ears Tango show, as I’m sure, would you given half a chance. By the end though, Watch Me When I Kill becomes consumed by its mystery at the cost of its characters. They basically stand and watch the ending with us. Someone who should get out more would probably concoct some bobbins about the viewer being subsumed into the characters, blah blah etc. Normal viewers will feel a bit taken aback by the abruptness of the ending. Mind you, I’m not asking for it to end with a freeze frame of Lukas and Mara high-fiving or anything.

I’ve probably risked making it sound a bit trad, but be assured Watch Me When I Kill is very much a giallo, so there are a lot of “Say what now?!?” moments, as is only proper. Most strikingly, whenever the killer strikes we see a flash of a cat’s eyes, which I still don’t get. I liked it, but I didn’t understand it. Which is why I like giallo, I guess. It’s certainly part of why I like Watch Me When I Kill.

[alfredsnightmare]

Lino Capolicchio in Solamente Nero (Antonio Bido, 1978)