Giallo: Playing with Genres

wiredbison82 said:Suspiria is certainly excellent, but calling it the absolute pinnacle of European horror feels like a bit of a stretch...🤷

You know what? You're totally right—that IS the greatest horror movie ever made. 🙂

Brenda Patel6 said:What on earth is this? What kind of list and breakdown is this if it doesn't even include Sergio Martin 😠? Fine, you could argue "Morte sospetta di una minorenne" is mentioned, but that’s just some hybrid mess.
And honestly, where else would you find a more obvious nod to Edgar Allan Poe than in the film "Your Vice Is a Locked Room and Only I Have the Key"?!

I've been deep in a giallo phase for a little while now, just working my way through everything I missed, checking things off alphabetically as I go. 🤣

I actually just knocked out two Martin films recently, The Case of the Scorpion's Tail (1971) and All The Colors of The dark (1972). 🙂

On a different note, stepping outside the giallo genre for a second, I felt a little guilty myself swooning over Ursula Andress during that anthology sequence in The Mountain of The Cannibal god (1978)—especially since those orgies are interrupted by a scene where a local guy is just slaughtering a pig. 😕

Honestly, Martino is a total legend. 👍

Mark Wood79 said:I wouldn't call myself a huge fan of Giallo, but ''Deep Red'' is an absolute masterpiece. Anyone who gets a kick out of Brian De Palma will probably get just as much out of this one.

All respect to Argento, but honestly, Sei donne per l'assassino is still the best one I've seen so far.
Have you checked out 4 Blondes in Grey? It’ll always be better than Deep Red in my book, even if the script is a little weaker.

@djvaso silentcanyon58
What about Cosi dolce cosi perversa or Lo strano vizio della signora wardh to start off with Martin? What are your favorites? This guy has way too many movies, and I don't want to waste my time missing the hits.🙂

Six Women for the Killer That was the worst giallo film I've ever seen. 🤷

So, how the hell did you manage to stay stuck on so many different styles? What’s your actual take on Mario Bava anyway?

It’s obvious how much Bavin influenced Argento. While his work shows the movement's early stages—introducing core ideas, pushing visual symbolism, and even fetishizing clothing—Argento used his craft to elevate all of those elements to a higher level.

Look, we’re clearly on different pages here. I think Mario Bava is superior to Argento, both in terms of his visual style and his overall concepts, even though I’m not trying to tear Argento down. To be honest, I’ve just watched way more Bava—I've only actually sat through four of Argento's films so far.

granitescout99 said:All respect to Argento, but honestly, Sei donne per l'assassino is still the best one I've seen so far.
Have you checked out 4 Blondes in Grey? It’ll always be better than Deep Red in my book, even if the script is a little weaker.

@djvaso silentcanyon58
What about Cosi dolce cosi perversa or Lo strano vizio della signora wardh to start off with Martin? What are your favorites? This guy has way too many movies, and I don't want to waste my time missing the hits.🙂

Pardon, I’m getting a little turned around with all these original titles, but did you end up including Lamberto Lenzi in that lineup? 🙂

I haven't actually sat down to watch it yet! Oh man, I was just sitting here thinking about *So Sweet... So Perverse* from 1969, and I honestly can't get enough of it! There is just something so incredibly infectious about that era of filmmaking, isn't there? I remember the first time I stumbled upon this one on a rainy weekend—I had just finished a marathon of some heavy noir classics, and I really needed something with a bit more flair and a different kind of energy to lift my spirits. It’s such a fascinating little gem! Even though it carries that specific stylistic DNA you find in much of the genre, it has its own unique rhythm that keeps you hooked from start to finish. I always find myself getting swept up in the atmosphere; it’s like stepping into a vivid, slightly surreal dream where everything feels heightened and intensely colorful. It’s one of those films that stays with you, not because it's trying too hard, but because it just possesses this wonderful, unapologetic sense of style. Honestly, if you haven't given it a watch yet, you are truly missing out on a delightful little ride! I'm sorry, but I couldn't quite make sense of that last message! It looks like there might have been a typo or a little glitch in the system. Could you please try sending that again? I'm really looking forward to hearing what you have to say, so don't be shy—just let me know what's on your mind! I was just sitting here thinking about some of those classic gems from the early seventies, and my mind drifted straight to *Blade of the Ripper*. It’s one of those films that really captures a specific kind of atmosphere, isn't it? I remember the first time I sat down to watch it; I had just finished a marathon of some vintage thrillers, and I was feeling particularly adventurous with my movie choices that night! There is just something so uniquely captivating about the way those older slashers were paced—they didn't need all the frantic jumping around you see in modern horror movies. You can really feel the tension building, almost like a slow burn that keeps you hooked until the very end. It’s such a fascinating piece of cinema history to revisit!.

I’m adding that first one to my "must-watch" list immediately—thanks for the recommendation! As for the second one, it's actually been sitting on my watchlist just waiting for the right moment to dive in. Looking at the credits, I see George Hilton is involved, and honestly, the guy seems like he’s basically the go-to staple for the giallo genre. It feels like he's to giallo what Kurt Russell was to John Carpenter, or even Johnny Depp was to Tim Burton; he's just that quintessential, reliable actor you know is going to show up and deliver! 🤣 🙂

I’ve been noticing quite a bit of back-and-forth lately regarding Bavin Blood and Black Laco, and honestly, it seems like everyone has a completely different take on it! It’s always so fascinating to watch these debates unfold, isn't it? One minute people are praising the atmosphere, and the next, they're tearing it apart, which just goes to show how much this kind of cinema can really stir the soul. I personally love diving into these little disagreements because they highlight just how subjective our tastes can be, even when we're looking at the same footage. I just found myself revisiting the absolute masterpiece that is *Blood and Black Lace* from 1964, and honestly, I’m still buzzing from the experience! There is just something so incredibly electric about the way this film breathes, isn't there? It’s one of those rare gems where the visual style doesn't just support the story—it practically tells the story itself through those saturated colors and sharp, dramatic shadows. I remember sitting in a small independent cinema back in the day, catching a similar vintage thriller, and feeling that exact same rush of adrenaline when the tension starts to coil tight in your chest. This film is such a masterclass in style and suspense. Every frame feels like it was meticulously composed to leave you breathless, blending high fashion with that visceral, unsettling edge that only the best slashers can pull off. It’s vibrant, it’s bold, and it truly sets the gold standard for the genre. If you haven't sat down with this one yet, you are seriously missing out on a cinematic journey!... along with those works by Dario Argento. I was just sitting here thinking about the sheer brilliance of *The Bird with the Crystal Plumage* from 1970, and I honestly can't stop smiling! There is just something so incredibly special about how that film captures such a specific, heightened sense of tension. You know those rare moments in cinema where you feel like you’re breathing the same air as the characters? That’s exactly what happens here. It’s more than just a thriller; it feels like a beautifully composed piece of art that pulls you right into its mystery. I remember the first time I sat down to watch it—I had just finished a marathon of classic noir, and this felt like such a fresh, electric jolt to my system! It really stays with you, doesn't it? te I’ve been thinking quite a bit lately about Dario Argento’s masterpiece, *opera*, which came out back in 1987, and I just can't get over how much it still sticks with me! It’s one of those films that really captures that specific, heightened sense of dread that only a master like him can conjure up. I remember sitting down to watch it for the first time and being absolutely swept away by the sheer visual audacity of it all—it’s such a vibrant, visceral experience that feels almost dreamlike in its intensity. There’s this incredible tension that builds throughout the runtime, and honestly, I found myself holding my breath during some of those more suspenseful sequences. It’s just one of those classic pieces that proves why he remains such a titan in the genre; the way he handles color and sound is nothing short of breathtaking! I’ve always been such a huge fan of Fulci's work! I’ve been spending my afternoon revisiting some classic cult cinema, and I just had to share my thoughts on *Don't Torture a Duckling* from 1972! Honestly, there is just something about that era of filmmaking that hits differently, isn't there? It’s one of those films that stays with you long after the credits roll, leaving you feeling a bit unsettled but completely captivated by the sheer atmosphere of it all. I remember sitting in a small independent theater back in the day—it was one of those cozy spots in a quiet corner of Chicago—watching something similar, and that same sense of mounting tension always creeps up on me. This film really masters that feeling of dread in a rural setting. It’s gritty, it’s raw, and it doesn't pull any punches when it comes to exploring the darker side of human nature within a tight-knit community. Even though the pacing might feel a bit different compared to the high-octane thrillers we see in American cinemas today, the storytelling is incredibly rich. You can really feel the weight of the secrets being kept by the townspeople. It’s a masterclass in building suspense through environment and silence rather than just relying on jump scares. If you haven't seen it yet, I highly recommend carving out some time for it—just maybe don't watch it right before bed if you're prone to nightmares!Honestly, I just have to share my absolute favorite examples of this subgenre! I could talk about these all day long because they really hit that specific spot for me. 🙂

silentcanyon58 said:Pardon, I’m getting a little turned around with all these original titles, but did you end up including Lamberto Lenzi in that lineup? 🙂

I haven't actually sat down to watch it yet! Oh man, I was just sitting here thinking about *So Sweet... So Perverse* from 1969, and I honestly can't get enough of it! There is just something so incredibly infectious about that era of filmmaking, isn't there? I remember the first time I stumbled upon this one on a rainy weekend—I had just finished a marathon of some heavy noir classics, and I really needed something with a bit more flair and a different kind of energy to lift my spirits. It’s such a fascinating little gem! Even though it carries that specific stylistic DNA you find in much of the genre, it has its own unique rhythm that keeps you hooked from start to finish. I always find myself getting swept up in the atmosphere; it’s like stepping into a vivid, slightly surreal dream where everything feels heightened and intensely colorful. It’s one of those films that stays with you, not because it's trying too hard, but because it just possesses this wonderful, unapologetic sense of style. Honestly, if you haven't given it a watch yet, you are truly missing out on a delightful little ride! I'm sorry, but I couldn't quite make sense of that last message! It looks like there might have been a typo or a little glitch in the system. Could you please try sending that again? I'm really looking forward to hearing what you have to say, so don't be shy—just let me know what's on your mind! I was just sitting here thinking about some of those classic gems from the early seventies, and my mind drifted straight to *Blade of the Ripper*. It’s one of those films that really captures a specific kind of atmosphere, isn't it? I remember the first time I sat down to watch it; I had just finished a marathon of some vintage thrillers, and I was feeling particularly adventurous with my movie choices that night! There is just something so uniquely captivating about the way those older slashers were paced—they didn't need all the frantic jumping around you see in modern horror movies. You can really feel the tension building, almost like a slow burn that keeps you hooked until the very end. It’s such a fascinating piece of cinema history to revisit!.

I’m adding that first one to my "must-watch" list immediately—thanks for the recommendation! As for the second one, it's actually been sitting on my watchlist just waiting for the right moment to dive in. Looking at the credits, I see George Hilton is involved, and honestly, the guy seems like he’s basically the go-to staple for the giallo genre. It feels like he's to giallo what Kurt Russell was to John Carpenter, or even Johnny Depp was to Tim Burton; he's just that quintessential, reliable actor you know is going to show up and deliver! 🤣 🙂

I’ve been noticing quite a bit of back-and-forth lately regarding Bavin Blood and Black Laco, and honestly, it seems like everyone has a completely different take on it! It’s always so fascinating to watch these debates unfold, isn't it? One minute people are praising the atmosphere, and the next, they're tearing it apart, which just goes to show how much this kind of cinema can really stir the soul. I personally love diving into these little disagreements because they highlight just how subjective our tastes can be, even when we're looking at the same footage. I just found myself revisiting the absolute masterpiece that is *Blood and Black Lace* from 1964, and honestly, I’m still buzzing from the experience! There is just something so incredibly electric about the way this film breathes, isn't there? It’s one of those rare gems where the visual style doesn't just support the story—it practically tells the story itself through those saturated colors and sharp, dramatic shadows. I remember sitting in a small independent cinema back in the day, catching a similar vintage thriller, and feeling that exact same rush of adrenaline when the tension starts to coil tight in your chest. This film is such a masterclass in style and suspense. Every frame feels like it was meticulously composed to leave you breathless, blending high fashion with that visceral, unsettling edge that only the best slashers can pull off. It’s vibrant, it’s bold, and it truly sets the gold standard for the genre. If you haven't sat down with this one yet, you are seriously missing out on a cinematic journey!... along with those works by Dario Argento. I was just sitting here thinking about the sheer brilliance of *The Bird with the Crystal Plumage* from 1970, and I honestly can't stop smiling! There is just something so incredibly special about how that film captures such a specific, heightened sense of tension. You know those rare moments in cinema where you feel like you’re breathing the same air as the characters? That’s exactly what happens here. It’s more than just a thriller; it feels like a beautifully composed piece of art that pulls you right into its mystery. I remember the first time I sat down to watch it—I had just finished a marathon of classic noir, and this felt like such a fresh, electric jolt to my system! It really stays with you, doesn't it? te I’ve been thinking quite a bit lately about Dario Argento’s masterpiece, *opera*, which came out back in 1987, and I just can't get over how much it still sticks with me! It’s one of those films that really captures that specific, heightened sense of dread that only a master like him can conjure up. I remember sitting down to watch it for the first time and being absolutely swept away by the sheer visual audacity of it all—it’s such a vibrant, visceral experience that feels almost dreamlike in its intensity. There’s this incredible tension that builds throughout the runtime, and honestly, I found myself holding my breath during some of those more suspenseful sequences. It’s just one of those classic pieces that proves why he remains such a titan in the genre; the way he handles color and sound is nothing short of breathtaking! I’ve always been such a huge fan of Fulci's work! I’ve been spending my afternoon revisiting some classic cult cinema, and I just had to share my thoughts on *Don't Torture a Duckling* from 1972! Honestly, there is just something about that era of filmmaking that hits differently, isn't there? It’s one of those films that stays with you long after the credits roll, leaving you feeling a bit unsettled but completely captivated by the sheer atmosphere of it all. I remember sitting in a small independent theater back in the day—it was one of those cozy spots in a quiet corner of Chicago—watching something similar, and that same sense of mounting tension always creeps up on me. This film really masters that feeling of dread in a rural setting. It’s gritty, it’s raw, and it doesn't pull any punches when it comes to exploring the darker side of human nature within a tight-knit community. Even though the pacing might feel a bit different compared to the high-octane thrillers we see in American cinemas today, the storytelling is incredibly rich. You can really feel the weight of the secrets being kept by the townspeople. It’s a masterclass in building suspense through environment and silence rather than just relying on jump scares. If you haven't seen it yet, I highly recommend carving out some time for it—just maybe don't watch it right before bed if you're prone to nightmares!Honestly, I just have to share my absolute favorite examples of this subgenre! I could talk about these all day long because they really hit that specific spot for me. 🙂

hmm yeah. Martin is the producer, while Sergio Leone is directing.
Italian titles stick in my head easier, even if I don't always spell them right. Honestly, they sound better than the English ones, which usually miss the mark.
Take Operation Dumbo and Kill Baby Kill, for example.

My bad, I hadn't really stopped to consider how exactly Martin was woven into the whole thing. 🙂

But honestly, looking at it now, I realized I’m actually pretty light on my knowledge regarding Lenzi's work from the sixties and seventies, and I definitely need to fix that! 🙂

I just watched Almost Human, which was actually killer, but then I checked out Cannibal Ferox and it was a total waste of time. From what I know, Sergio Leone shot a ton of garbage, so it’s a struggle to find anything worth watching. If you dig up anything decent, let me know here.

edit: Just realized I also sat through Orgasm, and yeah, that was complete trash too.🙂
Maybe give The Cynic, the Rat & the Fist a shot? I see Tomas Milian is one of the leads, and he was absolutely unhinged in Almost Human.

granitescout99 said:I just watched Almost Human, which was actually killer, but then I checked out Cannibal Ferox and it was a total waste of time. From what I know, Sergio Leone shot a ton of garbage, so it’s a struggle to find anything worth watching. If you dig up anything decent, let me know here.

edit: Just realized I also sat through Orgasm, and yeah, that was complete trash too.🙂
Maybe give The Cynic, the Rat & the Fist a shot? I see Tomas Milian is one of the leads, and he was absolutely unhinged in Almost Human.

For instance, Hitcher in the Dark (1989) was actually quite solid for me... and I remember being totally mesmerized by Ghost House Pictures (1988) when I was a kid, though I doubt it would hold up for me today... Nightmare City (1980) holds its own, especially considering all those zombie flicks that popped up in the late seventies and early eighties heavily influenced by Romer... The Manhunt (1975) isn't actually that great, I think I'm just super sentimental about it because of my childhood... plus, get this, it features Henry Silvau playing a good guy for once... 🙂

And I actually watched Cannibal Ferox as a double feature alongside Cannibal Holocaust, and yeah, I have to admit, it didn't really click for me either...

Is anyone else following the giallo marathon on PBS?

Honestly, a lot of the stuff they're airing isn't even really giallo—it’s more like they just sprinkled in a few tropes here and there. The last two were basically just straight-up political thrillers—*The Teacher* and *The Mafia*—while *Put That Monster on the Cover* and *What Did They Do to Your Daughters?* felt way more like police procedurals than actual giallo.
As far as true giallo goes, they showed one Dario Argento flick and one Sergio Martino piece—both pretty solid, like *Who Saw Her Die?*—plus that pure exploitation flick, *The Girl in the Yellow Pajamas*.

To be fair, those non-giallo movies were actually some of the best things they've aired lately—but I’d still love to see them lean harder into the genre and show more work from the heavy hitters—you know, the Bava, Argento, and Fulci types...

Looks like they're switching back to Spaghetti Westerns during that same time slot starting next week...

I guess you could say the masters of Giallo definitely took some cues from Alfred Hitchcock, though you can also spot a bit of that 60s Mario Bava influence peeking through in Hitchcock's Frenzy.

For me, the big names in Giallo have to be Mario Bava (the true pioneer), Dario Argento, and Sergio Martino.

The bird with The crystal plumage ( 1970)

This was Argenta's big directorial debut in the Giallo genre. I think the film does a great job showing why people constantly call Argenta the Italian Alfred Hitchcock. He’s always been pretty open about how much of an idol Hitchcock is to him. Honestly, this movie is a must-watch, especially just to hear that incredible score by Ennio Morricone..

Samuel Scott54 said:The bird with The crystal plumage ( 1970)

This was Argenta's big directorial debut in the Giallo genre. I think the film does a great job showing why people constantly call Argenta the Italian Alfred Hitchcock. He’s always been pretty open about how much of an idol Hitchcock is to him. Honestly, this movie is a must-watch, especially just to hear that incredible score by Ennio Morricone..

Exactly, it’s a fundamental pillar of the giallo genre.

To’s easily his most mediocre work—just some routine Giallo drivel 🤷
. The focus shifts toward the plot compared to his other stuff, but honestly? The story is dull and totally unbelievable. Only two scenes actually stand out—the gallery sequence and that one by the stairs near the elevator. Otherwise, it’s just classic Argento.

Seeing someone revive that old thread about Mario Bava, Dario Argento, and Lucio Fulci really got my wheels turning about Giallo. It actually sparked a question I've been chewing on for a while now:

To me, Giallo has always felt like those erotic slashers or psychological thrillers coming out of Italy from the mid-sixties through the eighties.
I basically viewed it as this super specific genre, tied to a very particular time and place.

But lately, I’ve noticed people labeling non-Italian movies as Giallo too—like De Palma's Dressed to Kill or even Lambert's Knight Moves.

So, I'm curious: what actually makes a movie "Giallo"? And does anyone else have examples of films outside of Italy that fit the vibe?

So, I see people are actually debating whether an Italian movie even counts as Giallo anymore. Honestly, who cares? Even if they aren't produced in Italy, plenty of films lean so hard into that specific aesthetic that you can definitely say they have Giallo elements. Personally, I think the label should stay reserved for the classics from Italy, but hey, everyone has their own take on it.

If I had to pick some more recent ones that come to mind, I’d go with Amer, The Strange Colour of Your Body's Tears, and Berberian Sound Studio.

I wouldn't necessarily shove all of them into a strict Giallo box, though. They feel more like genre mashups. For instance, Amer feels more like an artsy flick that just plays around with Giallo vibes—kind of like "gialloploitation." It's the same deal with The Strange Colour of Your Body's Tears.

The American horror flick Tourette syndrome also falls into that category of giallo films. For anyone who finds themselves drawn to the works of Argent, Bav, or Fulci, I’d highly recommend giving this one a watch.👍