Giuliano Carnimeo, “The Case of the Bloody Iris” (1971)
Known also as “What are those Strange Drops of Blood on Jennifer’s Body?”, this flick is representative of a unique Italian film genre known as giallo. Giallo films are noted mainly for their combination of psychological thriller and horror, and for featuring much violence and gore, beautiful camera work, a theatrical and often operatic style, and sometimes distinctive and highly expressive musical soundtracks; there will be liberal amounts of female nudity and undercurrents of sexual perversion. The standard plot revolves around a serial killer who preys on beautiful women and butchers them in horrible ways while the victims are in highly vulnerable or compromising situations, and the story will often have a twist ending in which the sociopath killer’s identity is revealed. Themes of isolation, alienation and derangement run through the films.
The plot of “The Case of the Bloody Iris” is as flaky as can be and the film depends on its cast of sometimes bizarre characters, colourful settings, cinematography and various embellishments that actually don’t add anything of value to impress viewers. Two young women are found murdered in a block of apartments. Not long after the second woman is found dead, her apartment is sold to a third young woman, Jennifer (Edwige Fenech), who is escaping her domineering ex-husband. Former hubby runs a strange sex cult that emphasises group sex and he wants her back; Jennifer resists him and he threatens violence. In the meantime, she and bubbly blonde (and equally bubbly-brained) flatmate Marilyn (Paola Quattrini) are being stalked by the serial killer. The police do what they can to track the killer. While the killer remains at large, Jennifer becomes acquainted with her apartment neighbours who include a woman living with her estranged father and an elderly widow with a disfigured son. Jennifer also meets the building’s architect Andrea (George Hilton) who is averse to the sight of blood. Any one of these people could be the killer – and the killer has designs on Jennifer and Marilyn!
There is plenty of suspense in this hokey thriller, aided and abetted by stunning cinematography with the camera often at weird angles and plenty of voyeuristic shots. The jazz-influenced music is distinctive with harpsichord riffs looping over and over. The film’s characters come straight out of soap opera territory with their stereotyped behaviour. Red herrings abound as do gratuitous nudity and a sub-plot revolving around the two investigating police officers and their banter over how well one of them works and the other guy’s stamp collection.
For all the gore and sex that I’d been warned about, there’s not that much violence and when violence does occur, there is considerable and graphic blood-letting done in stylish manner; likewise there are bare breasts but full frontal nudity is non-existent. For a B-grade thriller, the movie is well-made with a good pace and a deft touch in its narrative structure and inclusion of humour to leaven the suspense though the climax is not at all credible and feels derivative and tacked-on.
Hitchcockian influences include bird’s-eye views of spiral staircases, one of which is needed for the climax, a widow and her strange son, and incompetent and possibly corrupt police. General themes of big city alienation and isolation, corruption in society and the notion of women as the source of temptation leading to sin loom large. These may have been underlying concerns in Italian society while the country was undergoing major social, political and economic changes during the second half of the 20th century.
The film turns out to be good-looking and stylish trash entertainment with its lead actress Fenech an incredibly stunning lovely lady with long black hair and flawless features. After forty years, “… Bloody Iris” does not look at all outdated though the misogyny and homophobia that appear may rankle with audiences. For anyone who has never seen a giallo film before, “… Bloody Iris” is heartily recommended as an introduction to the genre.