After catching a serial killer (Antoine Saint-John) in the act of disposing of a victim, adulterous businessman Giorgio Mainardi (George Hilton) sees a way to solve both his romantic and financial problems at the same time: he blackmails the murderer into killing his wealthy wife Nora. Things go awry, however, when the killer's car is stolen by a young couple, Luca and Laura (Alessio Orano and Cristina Galbó), who are blissfully unaware of Nora's dead body stashed in the trunk. While Giorgio tries to keep his cool as an inquisitive police inspector enquires about his missing wife, the creepy killer tracks Luca and Laura to a disused seaside property where the couple plan a spot of lovemaking.
When is a giallo not a giallo? When it turns the conventions of the genre upside-down by revealing both the identity of the killer and the motive for the movie's central murder within minutes, as occurs in Luigi Cozzi's The Dark is Death's Friend (AKA The Killer Must Kill Again). Rather than leave the viewer trying to solve a mystery, Cozzi lets us know precisely what is happening from the outset; the trick is to try and guess how the antagonists' plans will eventually pan out, and who might be eliminated along the way.
Even though Cozzi's film mucks about with the accepted structure of the giallo, the plot still allows for the classic genre ingredients of sex and violence, with a smattering of nudity (both Galbo and busty beauty Femi Benussi get their kit off), a shocking rape scene, and one particularly vicious and bloody murder. The film also benefits from one of the more memorable maniacs of Italian cinema, Antoine Saint-John's gaunt features making him a natural for such a role. Fans of the giallo genre will not be disappointed.
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