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Most cite the 60s as when the first Giallo film was made and in the 70s these films reached their gawk and would continue to go on before fading away around the mid 80s. But the 70s it seemed like every film out of Italy was a Giallo, while some suffered from being the same as all the others some filmmakers were able to offer a twist. The Case of the Bloody Iris is delicate great the standard Giallo of the time, but works well and is one of the better ones of an era dominated by them.

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In many ways I articulate the Giallos can sort of be seen as the Italian slasher movies. If you ogle slasher flicks you can contemplate the influence the Giallo had on them. Slasher films are sort of the bad mans Giallo, but the thing is like the slasher you’ve seen one you’ve seen them all and that does apply to Giallos a lot of the times. The abolish scenes are kinda hard to mess up. Hot women being chased by a psycho killer blooming worthy sells itself, but the investigation scenes if they aren’t profitable than the Giallo won’t be any grand.

The screenplay was written by Ernesto Gastaldi who is no stranger to the Giallo; he wrote many of the more common ones in the 70s most well-known writing for Sergio Martino. The script at times definite can be a bit droll, but it works well overall with mostly spicy characters and the mystery aspect is actually solid. Normally by the middle of the movie you can figure out who the killer is, but I actually didn’t figure it out. While it wasn’t a gigantic surprise it did net by me.

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Director Giuliano Carnimeo going under the name Anthony Ascott does a solid job at keeping the toddle engaging along and there’s no shortage of suspects and nudity. The cancel scenes are done well with some handsome respectable suspense and tension and the investigation scenes are handled well and never crawl. There is always something happening here to maintain it from getting listless. Either we bag a execute or stalk scene or we catch some nudity. The Case of the Bloody Iris moves at a very valid slump and like I said there is always something happening to contain the viewers interest.

The Case of the Bloody Iris in my concept is a very strong Giallo that doesn’t come by the attention it deserves. While this is magnificent noteworthy the standard Giallo of the time everything works rather well. One of the problems with these movies sometimes is there are so many characters who are honest there to be suspects things earn very messy, but here that doesn’t happen. I wasn’t clear what to examine out of this, but it was a lot better than I plan it would be.

The cast is solid led by the amazingly pretty Edwige Fenech as Jennifer. I haven’t seen a lot of her work, but what I’ve seen I have liked. You’ll be hard pressed to procure a woman more sparkling than Edwige who I judge might be the most elegant woman I have ever seen. If you are a fan of Edwige this is principal viewing. George Hilton also stars as Andrea Barto and like Fenech I haven’t seen a whole lot of his work, but what I’ve seen I have liked. The two previously worked together in The Queer Vice of Mrs. Wardh, which was produced by Luciano Martino who also produced The Case of the Bloody Iris.

Overall The Case of the Bloody Iris is an profitable Giallo in my opinion; there is some noble suspense and nudity and the mystery angle works well. While not a perfect movie it’s highly enjoyable; I believe fans of the Giallo and Edwige Fenech should relish.

“The Case of the Bloody Iris” is an Italian Giallo, a type of film often considered the ancestor of recent slasher films — but with more style. One can expect: serial murders of aesthetic women, a psychopath, nudity, “sexual situations”, a police investigation (often ineffective) and lots of blood, along with stylish photography and distinctive music. In other words, salacious righteous fun.

Edwige Fenech plays Jennifer, a photographer’s model who moves into an apartment where the dilapidated tenant had recently been murdered by drowning her in the bathtub. Though a second woman was brutally murdered in the building’s elevator shortly before they moved in, neither Jennifer nor her ditzy roommate seem overly-concerned about two murders in and around their novel apartment.

There are plenty of suspects: a queer elderly woman who buys stacks of crime magazines, a lesbian neighbor and her unlit, violin-playing father, a pleased photographer who employed the drowning victim, the building’s architect who has a phobia about blood, Jennifer’s menacing old-fashioned husband, plus a few others who pop up along the plan.

Jennifer first meets blooming architect Andrea Barto (George Hilton) at the photographer’s studio, their eyes meeting suggestively. Andrea arranges for the girls to disappear into the slay apartment, and soon begins an affair with Jennifer.

The police inspector assigned to the murders is a world-weary impress collector, with an almost useless assistant. There is an comical running joke about the assistant being recognized by passers-by while tailing suspects. The police investigation is very weak; the police turn up no clues to the killer’s identity, only more suspects. In fact, the killer is found out only because one of the victims manages to call for succor in time.

My main criticism of the film is that no one takes what happens seriously. The roommate plays a practical joke on Jennifer by pretending to drown in the bathtub, then later refuses to acquire Jennifer when she says she saw a dark man standing over her bed. When Andrea is threatened at knife point by Jennifer’s archaic husband, he simply starts his car and drives off — without even mentioning it to the police. Indeed, both Jennifer and Andrea have more interest in romance than distress over the possibility being murdered!

There is some nudity, but relatively dinky by new standards: a few brief topless scenes, some costumes that might as well be topless, and a nude appreciate scene. Nothing really salacious by today’s standards, but no doubt more so in the 70s when the film was made.

Reviewers of Edwige Fenech’s films often mention her beauty. She is glorious! But obtain no mistake, Fenech is also a suited and talented actress who usually gives a solid and convincing performance. I strongly recommend her rotten Italian farce “Giovannona Long-Thigh”, or Mario Bava’s dark comedy “Five Dolls for an August Moon” for sampling more of her talent.

This film is scrumptious, but not one to peep over and over. It has all the moral parts, but the parts do not fit together quite as well as they should. A stronger directer could have made a better film.
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