, 1971), Quattro mosche di velluto nero (Four Flies on Gray Velvet, 1972), and the masterpiece Profondo rosso (Deep Red, 1975) established not only Argento’s career, but also the genre’s fame around the globe. Argento might have not invented the genre, but he made it perfect, by adding an aesthetic appeal. Mr Argento’s movies were a feast for the eyes, with thrilling symbolism, unexpected camera angles and stylish features.
Often Giallo movies made in the early 70s have emphasised erotic features, with almost a macabre attention to erotism and sex. Umberto Lenzi’s Orgasmo (1969), Così dolce… così perversa (So Sweet… So Perverse, 1969) and Paranoia (A Quiet Place to Kill, 1970), together with Massimo Dallamano trilogy of “Schoolgirls in peril” Cosa avete fatto a Solange? (What Have You Done to Solange? 1972), La polizia chiede aiuto (What Have They Done to Your Daughters? 1974), Enigma rosso (Red Rings of Fear, 1978) are perfect examples of this twisted take on Giallo. The influential Sergio Martino’s Giallo movies are visually compelling and plenty of smart stylistic tricks, as we can see on La coda dello scorpione (The Case of Scorpion Tale, 1971), Tutti i colori del buio (All the Colors of the Dark, 1972), Lo strano vizio della signora Wardh (The Strange Vice of Mrs Wardh, 1971), Il tuo vizio è una stanza chiusa e solo io ne ho la chiave (Your Vice Is a Locked Room and Only I Have the Key, 1972), and I corpi presentano tracce di violenza carnale (Torso, 1973).
Being a template, Giallo movies were easy to replicate, and so many directors got their hands dirty with it, producing remarkable movies. Giornata nera per l’ariete (The Fifth Cord, 1971) and Le Orme (Footprints on the Moon, 1975) both by Luigi Bazzoni, Il profumo della signora in nero (The Perfume of the Lady in Black, 1974) by Francesco Barilli, La dama rossa uccide sette volte (The Red Queen Kills Seven Times, 1972) by Emilio Miraglia are some of the most refined movies in the genre.
Mr Argento and the other Giallo directors produced a sensorial cinema, which is, in my opinion, the reason for the success of the genre. Their movies, in fact, were a feast for the senses. Besides being visually appealing, with gorgeous stylish colours, these movies were also a pleasure for the ears, thanks to outstanding soundtracks produced by Ennio Morricone, Stelvio Cipriani, Riz Ortolani, Nora Orlandi, and many other renowned producers. Not only, but Giallo movies are also a sensual display of eroticism, almost conveying a tactile fetish feature. The spectator could almost feel the murderer’s leather gloves, the velvet softness of the sofas in the lounges, the tightness of the masks of the murderer, the thin dresses of the girls brutally killed. Finally, in Giallo movies, there is space for the sense of taste as well, with many drinks, cocktails and spirits – mostly J&B whiskey – consumed through the movies.
The directors exploited the senses in order to produce a synaesthetic, sensorial, sensual cinema that is, arguably, still unmatched. This is precisely the reason why these movies, almost 50 years after their appearance, still appeal to a large audience, making new fans among younger generations and new directors.
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