Girl Who Knew Too Much, The (1963)

Author: Brett Gallman
Submitted by: Brett Gallman   Date : 2009-10-06 03:46
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Written by: Mario Bava, Enzo Corbucci, Ennio De Cogwktmini, Eliana De Sabata, Mino Guerrini, and Fragwktmo Prosperi
Directed by: Mario Bava
Starring: Letícia Román, John Saxon, and Dante DiPaolo


Reviewed by: Brett G.






"Oh mother, murders don't just happen like that here..."


Mario Bava's importance to the horror genre can't be overstated. The strength of many of his films would provide a strong enough legacy; however, it can be argued that Bava's legacy lies not in his own films alone, but rather, in the massive influence those films had on the genre. Of particular importance is the fact that Bava essentially spawned an entire sub-genre with the giallo film: those sleek, stylish, and often ludicrously-titled slasher/murder mystery films that have thrilled horror audiences for over forty years now, and it all began with The Girl Who Knew Too Much, which can best be described as a giallo in its embryonic stage.

Letícia Román stars as Nora Davis, the title character who has arrived in Italy to visit her sick aunt, who dies on the first night of Nora's visit. The panicked Nora then leaves the house in search of Dr. Bassi (John Saxon), only to be mugged in a piazza. Waking in an disoriented state, Nora then witnesses the murder of a young woman. Of course, everyone blames Nora's disorientation and her overactive imagination for her visions. She then meets Laura, a close friend of her aunt's, who takes her in and allows her to stay at her house while she goes on vacation. While there, Nora discovers newspaper clippings detailing the exploits of "The Alphabet Killer," so dubbed due to his penchant for murdering people in the order of their surname. Having made it up to "C" ten years ago, the killer calls Nora and warns her that "D is for death."

What follows is a typical giallo plot: a few twists and turns, some flashbacks and narratives recapping past events, and, eventually, the somewhat shocking revelation of the killer. The film's plot is very much in the mold of the Italian mystery and pulp novels that inspired this and many other giallo films. Operating primarily as a "whodunit" more so than a slasher film, The Girl Who Knew Too Much is propelled by the unraveling of the mystery and moves along at a swift pace. When put into the context of other giallo films (especially later ones), viewers might find this one to be lacking a bit in the gore department. While it was likely considered to be fairly violent for its day, it's quite tame by today's standards.

Nonetheless, Bava's stylish direction keeps the film interesting. Making use of stylish camera angles, light, and shadow techniques, The Girl Who Knew Too Much is a slick piece of work that holds up to this day. The film is bathed in an almost gothic flair throughout the run-time, and often feels a bit other-worldly. It's easy to see the influence of film noir on Bava here, as the film is very atmospheric and even feels like a low-grade Hitchcock film at times. The plot itself is a bit absurd (this, too, would seemingly become a giallo staple), but the film's style rescues it from being a cheap rip-off of Hitch, as Bava truly leaves a visual mark that would go on to shape the look and feel of giallos for years to come. Roberto Nicolosi's jazzy score is also noteworthy, as it contributes to the film's sleek, noir-like tone.

Ultimately, it's the plot that keeps this one from being all that it can be, as it's nothing extremely memorable (despite the fact that the film boasts six writers). While one couldn't expect Bava to get it perfect the first time out, several giallo films would go on to provide more interesting plots, characters, and twists as the genre evolved. This is not to say that The Girl Who Knew Too Much is awful in this respect because it's not; instead, it's simply an interesting murder mystery that telegraphs things a bit towards the climax. It also has an odd, humorous scene at the end that sort of undercuts the tone of the rest of the film. The climax itself is a satisfying experience, and the characters are worth spending some time with, as Roman is quite charming in the role of Nora, and John Saxon is as cool as ever here.

The Girl Who Knew Too Much is one of those odd films that's more important for what it represents rather than being a masterpiece itself. Make no mistake: the film is certainly above average and is very well done, but its notoriety as "the first giallo" will be its ultimate legacy, making it required viewing for the horror enthusiast. As of this writing, the film's only standalone release from Image Entertainment is long out of print. However, the film can still be acquired as part of the first Mario Bava Collection released by Anchor Bay in 2007 alongside seminal Bava films such as Black Sunday and Black Sabbath. The strength of these three films along make the collection a steal, as it can be had for under $30. The transfer for The Girl Who Knew Too Much is solid, as Bava's black and white photography is beautifully replicated. There are a few rough spots here and there, but I can't imagine the film looking any better than this. The film's original Italian soundtrack is similarly solid and very clear. Extras include an audio commentary by author Tim Lucas, a retrospective with John Saxon, and a host of trailers and promo materials. As the Alphabet Killer might say, "B is for Buy it!"



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