Add a Review

  • "Seven Blood-Stained Orchids" (1971) is a middling, fairly goreless giallo from director Umberto Lenzi that should just manage to please fans of this genre. In it, a hunky-dude designer, played by Antonio Sabato in a one-note performance, investigates when his pretty fiancée becomes the latest target of yet another Italian serial killer. With the help of this fiancée, appealingly played by German actress Uschi Glass, the couple realizes that all previous murder victims had stayed at the same countryside hotel several years before. But will this bit of knowledge enable them to save future targets of the killer? And why does this homicidal whack job insist on leaving crescent-moon medallions (NOT half-moon, as widely reported elsewhere!) at the site of his slayings? The film, as you may have discerned, tells an interesting story, with a twisty, slightly confusing plot that does ultimately manage to hang together. Lenzi has directed his film in a competent, no-nonsense manner, while the picture's score, from Riz Ortolani, is alternately somber, cool, menacing and lovely. The film's killer utilizes many expedients to off his victims, including beating, drowning, strangulation and--in a scene that should please most gorehounds--a power drill, and this many years before similar nut cases picked up their Black & Deckers in films such as "The Tool Box Murders," "The Driller Killer" and "The Slumber Party Massacre." Several scenes are indeed quite suspenseful, such as the ones with the poisoned kitties and the female mental patient. Shriek Show is to be thanked for this fine-looking DVD (sadly, with no subtitles) of a film never before released in the U.S. Oh...one other thing. Do NOT watch the film's trailer before viewing this picture. Amazingly, it reveals the killer's identity not once but several times! Talk about spoilers!
  • Seven Blood Stained Orchids (Sette orchidee macchiate di rosso, 1971) is extremely pleasant and atmospheric Italian mystery, giallo from the beginning of the 70's. Lenzi himself likes this film too, but doesn's think it is his masterpiece. I have not seen too much of his work (I have seen at least Cannibal Ferox, Mangiati Vivi! and Il Paese del sesso selvaggio) but when I saw this 70's classic I knew that Lenzi is at his best in this genre.

    Murders take place and soon the main character starts to notice some connections and relations between the murdered ones. Couple of years ago something evil happened and now it seems to be payback time.

    This is almost as masterful as Argento's Profondo Rosso in the suspense department. Argento's work is more stylish and artistic but Lenzi is definitely not less interesting or less skilled. Couple of scenes are very scary and shocking especially if the film is viewed alone in the dark..Music by Riz Ortolani is great, but not as great as in Cannibal Holocaust or La Casa sperduta nel parco by Ruggero Deodato.

    In these giallos, there is always pretty confusing and non-believable plot but it doesn's matter because these films don't have to be realistic; they can be supernatural as well and it doesn't diminish their impact. Plot in this film isn't too confusing but many twists and turns take place during the film.

    Seven Blood Stained Orchids is highly recommended for Italo fanatics and horror fans alike. Lenzi directed his most notorious cannibal films only because of money, so these mystery films are far more personal and artistic too. And the lead lady character played by Uschi Glas is unbelievably charming and sexy, and she is very nice to watch.

    8 out of 10 and recommended!
  • Handsome Antonio Sabato (father of Antonio Sabato Jr of such films as THE BIG HIT) and his wife are on the trail of a cold blooded killer whose only clue is the crescent shaped locket he leaves behind at every murder he commits. The killer has already tried and failed to kill her, will he be able to finish the job? This is just one of the questions that SEVEN BLOOD STAINED ORCHIDS asks. Another is how the hell did I manage to sit through this without falling asleep? I guess it was the funky retro finger painting free loving SWINGIN' SEVENTIES STYLES!! Seriously though, while this film has dated a little, director Umberto Lenzi crafts a moderately engaging murder mystery. Plus there's a fair amount of gore and nudity to engage the rest of us.
  • Umberto Lenzi delivers a giallo that has all the trademark elements fully in place, but somehow fails to achieve the right level of madness to produce a true classic. I'm not quite sure why, though. Let's blame Antonio Sabato!

    No – let's get to the story instead. Someone wearing the standard issue giallo killer uniform (black gloves, floppy hat, raincoat) is murdering women in and around Rome, at rather a rapid rate, too! This guy knows how to create a giallo atmosphere – not only does he shake things up on the variety side, he also leaves a weird silver crescent next to the bodies.

    His third victim (I think) is the bride of Antonio Sabato, and she gets cut up on a train while her husband out buying McEwan's Export from the train bar. He attends her funeral while the cops take everybody's pictures covertly, but it's all a ruse! She's still alive though I'm sure her relatives are going to be chuffed when they find that out.

    Antonio then gets on the job of finding out who the killer is, with the aid of the police to a certain extent. He discovers that all the woman being offed all stayed at a certain hotel at a certain time, but why are they being killed? And who is this American people keep referring to? And did Bruno Corazarri just say he gave the American a chewie?

    So we've got the stupid clues, the Euro-babes, the set piece kills, what have you, but I couldn't help but feel that Antonio Sabato wasn't pushing himself as the hero (and I felt the same way about him in The Man with Icy Eyes), so his lack of animation made the film at bit dull. Or maybe that was due to the film following the giallo formula a bit too strictly (although the 'death by drill' was an eye opener). It could because I've watched about a hundred of these films in about six months. YOU DECIDE!
  • Warning: Spoilers
    I don't get the praise for this one at all. It is one of the first of these Italian horror thrillers ("giallo") I have watched and color me unimpressed. Antonio Sabato and Uschi Glas star as newlyweds caught in the middle of a psychopath's killing spree. Well actually she's caught in the middle and he's just deciding to spend his free time playing Sherlock Holmes since the cops on the case are incompetent. Glas' character, along with six other females, are the targets and the killer knows that one of these seven ladies was involved in a car accident that left a man dead. Since he cannot prove which lady was involved he decides to murder them all to get his revenge. This movie plays out like a bland made-for-TV thriller, with stale dialogue, unimaginative direction, a weakly written screenplay and a few supposed twists thrown in, but it's all rather mundane and formulaic. The identity of the killer is a huge disappointment also because all they do is make it one of those minor characters who has maybe one scene before he's is revealed to be the psycho. The person isn't sufficiently developed or menacing enough to build much interest, and everyone who appears in a major role is nondescript and dull. Most of the run time is uninteresting dialogue scenes that constantly make the film come to a screeching halt. It's not thrilling, scary or suspenseful at all. And that is a shame because I normally love Italian horrors and thrillers. Many are among the most beautifully made films I have seen with good casts, outstanding cinematography, creepy music scores and wonderful art direction and sets. Sadly, this very dull movie has no style to speak of and the well of imagination must have run dry.
  • Despite some unfavorable reviews (notably Adrian Smith's), this is a classic giallo that really works. The puzzle of the half moon lockets is classic Edgar Wallace and is the tenuous thread that connects the set-piece murders and keeps the story moving. Sabato and Glass race around to solve the mystery and clear Sabato's name but, as per usual, the killer is one step ahead of them. It all ends in a hand to hand fight in a swimming pool that's a cut above the usual giallo climax, and everything is nicely resolved. In 1972 plot still mattered to the giallo genre (1973's Torso would change that) and the films were a lot better for it. This one goes high on the list of gialli and was a peak for Umberto Lenzi.
  • Before Cannibal Ferox and Eaten Alive!, Umberto Lenzi had his Giallo films. They are different from the American murder-mysteries in that we actually see the crime taking place, not just CSI showing up to process the scene, and we usually get lots of blood and tits with the deed.

    OMG! A scene from The Driller Killer. The "Half-Moon Maniac" uses what is convenient to get the job done.

    The last "victim" sets herself up for the kill to catch the maniac.

    It doesn't work, and Mario (Antonio Sabato) keeps looking. Can he get home and save his wife, Giulia (Uschi Glas) before the killer strikes?

    Great film, even though it was dubbed.
  • dbdumonteil16 January 2011
    From adventures movies ("Il Trionfi Di Robin Hood") to spy thriller ("A 008 (sic) Operation Termini") ,from sword and sandal ("I'Ultimo Gladiatore ") to horror ("Cannibal Ferox") Umberto Lenzi has tried his hand at all the genres .

    "Sette Orchidee Macchiate Di Rosso ":the title recalls those of Dario Argento but ,although there are sadistic scenes ,the movie is primarily a detective story:the screenplay was made with a certain care ,which in this kind of low-budget movie is to be underlined.A whodunit and seven women who have something in common and a killer who is doing away with them one by one, a plot in the tradition of Agatha Christie.Most famous name is probably Austrian Marisa Mell ("Diabolik") whose career was already on the wane when she played this supporting part in Lenzi's movie.

    Like this ?try these

    "Sans Mobile Apparent " (Philippe Labro,1971)

    "Le Dernier Des Six" (Geoge Lacombe ,1941)

    "Sei Donna Per L'Assassino" (Mario Bava ,1963)
  • Coventry10 February 2005
    These Italian horror directors never cease to surprise their fans, don't you agree? No matter how notorious they are for extremely gore and gut-munching films, they nearly always started out with genuinely creepy and well-plotted gialli! Lucio Fulci has his "Don't Torture a Duckling", Dario Argento initially made "The Bird with Crystal Plumage" and even Umberto Lenzi, infamous for his nasty and downright repulsive cannibal flicks like "Cannibal Ferox", "Nightmare City" and "Eaten Alive" stunned us with the delicious Giallo "Seven Blood Stained Orchids". THIS is the kind of horror that reminds my why I love the genre so much!

    "Seven Blood Stained Orchids" (the title alone is exciting) stands for mystery and suspense from start to finish, atmospherically filmed by Lenzi and provided with a chilling musical score by Riz Ortolani (Cannibal Holocaust). The idea is based on an Edgar Wallace novel and tells the unbelievable, yet truly intriguing story of a black-gloved murderer with seven beautiful women on his hit list. Initially it seems that there's absolutely no relation between all these women and the only thing that brings them together is the symbol of a half moon, which the anonymous killer leaves behind on their bodies as a trademark. After a few murders, the police still know absolutely nothing about the identity or the possible motives of this madman so one of the victims' fiancée starts his own investigation. The killer believes his third target is dead but she survived the knife-attack and she even begins to remember what the seven girls might have in common… The story is complex and every new clue or plot twist comes as a complete surprise to the main characters as well as to you, the viewer. No matter how badly you attempt to unravel the mystery before Mario does, you're in the dark about this dangerous madman as much as anyone else. A constant high-tension level and a solid premise are Lenzi's biggest trumps here, since the movie is pretty low on budget and scenery. The actual murders are a bit tame but suggestive enough and the bonus for patient gore-fanatics comes near the end, when an unfortunate girl is literally drilled to death. The thing I like most about gialli is that they're beautiful to look at and nearly always handled with an unusually large amount of style and elegance. Even though you wouldn't give it to him considering his vicious reputation, Umberto Lenzi also proves himself to be a master in this as "Seven Blood Stained Orchids" contains several, downright beautiful sequences. Although it has to be said that the cast also contributes a great deal to the beauty-element. All seven women come close to being goddesses, especially Marisa Mell who even plays two roles! Italy-cult freaks will definitely remember this girl from Mario Bava's psychedelic masterpiece "Danger: Diabolik!". This film is a must for everyone who ever showed interest in undiscovered horror highlights. This belongs to the category of films that truly define the brilliance and range of horror.
  • Warning: Spoilers
    Talking to a fellow IMDber a few months ago about my plans to watch a number of gialli titles in the run up to Halloween,I was caught completely by surprise,when the IMDber sent not 1,but 2 Giallo titles! With having been a fan of Umberto Lenzi since seeing his overlooked title Spazmo,I felt that it was the perfect time to start smell the orchids.

    The plot:

    Surviving an attempted murder, Giulia and her boyfriend Mario are told that she was the latest target of a mysterious killer,who has been leaving a half-moon shaped medallion locket next to each of the victims.Wanting the murderer to believe that Giulia has been killed,the police arrange for a mock-funeral,whilst Giulia and Mario go into hiding.

    Fearing that the killer may discover his mistake,Mario begins working with the police to track down the killer.Pushing around the local vicars and the city's group of drugged-up hippies,Mario eventually gets hold of a name.Attempting to track down the person,Mario finds everyone attempting to push him back,until he suddenly gets a phone call from a stranger,telling him to go to an address where he will get all his answers.Arriving to the location,Mario discovers that his leading murder suspect has been dead for 2 years.Walking past the gravestone,Mario notices that someone has recently placed 7 blood-stained orchids by the gravestone.

    View on the film:

    "Unofficially" adapting the Cornell Woolrich novel Rendezvous in Black,the screenplay by co-writer/(along with Roberto Gianviti) director Umberto Lenzi takes an extremely cynical view to institutions and sub-cultures who should be helping with the tracking down of the killer,as the writers go from showing drugged- out hippies being willing to do anything for their latest high,to the police and church being prepared to take any shortcuts,in or to get favourable headlines.Casting the net out wide for suspects,the writers take the rather daring approach of showing the investigation hitting dead ends.Allowing Mario to hit a dead-end tombstone,the writers surprisingly let lone amateur detective Mario work with the cops,which gives the film a tremendous deal of friction,as Mario finds himself not only having to deal with a psychotic killer,but also with a lazy police force,who want to close the case asap.

    Backed by a fantastic rolling Jazz score from Riz Ortolani,Umberto Lenzi gives the film an eye-catching, stylised appearance,which goes from darting across rooms in search for the killer,to Lenzi matching each of the murders razor cuts with scatter-shot whip-pans which create a vicious mood.Surrounding the killer with beautiful women from a fearful Marisa Mell to an elegant Uschi Glas,Lenzi gives each of the actresses a wonderful glamorous appearance,which is joined by an excellent weirdly comedic atmosphere,as each of the would-be victims face everything from poisoned cats to a pre-Driller Killer driller killer,as Mario starts to wipe the blood from the stained orchids.
  • osloj28 July 2006
    Warning: Spoilers
    I wonder what film the other reviewers saw that they garner with such praise, this is a dull 'thriller' that doesn't have anything new to offer. It is lacking in terror, music or even atmosphere and anyone with half a brain can guess already who the killer is. It isn't really even a "giallo" type film because it lacks anything pertinent to that type. Lenzi meanders from point A to point B fairly rapidly, minus the chills one normally gets from any "creepy moments" or sustained plot. He has the boring clichés to "inform" the audience (a news station, a car radio, talking about the murders). A routine everyman (Sabato) is uninspired in the lead role, how the killer never managed to kill him or the dumb waif he is protecting is beyond intelligence. The film lacks excitement and therefore it is only "average", just barely at that even. And be prepared for the biggest let down when the killer is exposed.
  • Watching this again after several years I was surprised to remember little other than that I had thought more of it before. I suspect that it was an early giallo for me and that I have seen better since but judging by the varied comments on this film I'm not so sure. Maybe it depends upon what mood you are in as to whether you get into this one. It starts well enough and there are some vigorous kills and decent Ortolani music, but then it seems to drift. The leads are not particularly impressive and although we do not get half an hour of plodding police investigation we do get a shot or two too many of them motoring from one crime scene to another. There is an inconsistency too, some of the kills are very striking and some barely on camera. The main problem seems to lie at the door of Mr Lenzi who just puts the bits and pieces together without any real sense of pleasure or passion. Things just seem to happen and maybe if you are in the right frame of mind this will be OK but should you be looking for a more involving or stylish presentation you may find yourself dropping off.
  • Undoubtedly Lenzi's best film. More of a giallo than anything else he's made, af usually seems to deal in standard Hitchcock- influenced thrillers and forego the giallo tropes. Here however, all of the giallo trademarks are at play, and come together beautifully with a very well written story line.
  • Following a serial killers' strike, a woman who was attacked but managed to survive the incident finds that the killer is continuing to strike others around her, and forces her and her fiancée to investigate why the killer is still on his rampage and targeting more victims.

    This was quite the enjoyable and engaging Giallo. One of the better features in this entry is the fact that there's some rather fun work to be said here about the manner in which this one springs forth with the main plot line. Going from the idea of a killers' botched attempt on the heroine and then turning into the fight to uncover the identity as he continues his rampage gives this a solid base to work with, and the film's really at its best when it uses this set- up for a series of rather brutal and shocking stalking scenes. The opening double murder strikes, where he takes out the woman lying in her bed as well as a later sequence with a hookers' ambush in the tall grass after being picked up by the killer start this off on a solid note, while the later scenes here are quite fun as well. There's a visually-arresting set-piece on an artist in her home where she discovers that poisoned milk intended for her has instead killed her pet cats first before the killer strikes for real and in the ensuing aftermath the shot of red and black paint dripping onto the corpse creates a fantastically beautiful image, the big attack on a train where she manages to escape the encounter alive makes for a thrilling action-packed sequence and the big stalking of the victim in the hotel room where she gets dragged away and placed in the bathtub is a stellar sequence that gives this a great traditional Giallo sequence of the murder victim being placed in the bathtub by drowning. There are more brutal and shocking deaths placed throughout here, and these overall give this one a rather strong framework that compares incredibly favorably to the modern gialli taking place at the time with the increasingly strong attack scenes.That carries over into the fine finale which has so much to like here with the big battle with the killer and the final revelation of their motives which ties the whole thing together as well as gives this a rather strong and enjoyable finish for an overall enjoyable Giallo. There's not a whole lot to dislike here, which mainly consists of the expected storyline motivation for the killer. It's way too hard to believe that this incident would've sprung anyone into such a rampage much less the one engaged in here, and the round-a-bout way this goes trying to convince that the trauma inflicted forces this kind of reaction as the connections are tenuous at best and sloppily executed at their worst with the film grinding to a halt in the middle segment following the investigation as a montage of him wandering through the city looking for answers. It doesn't make the film any clearer and it does cause this one to really feel overlong during that time, and it is something that does lower this one slightly.

    Rated Unrated/R: Graphic Violence, Nudity and Language.
  • coldwaterpdh26 April 2008
    When I first saw "Seven Bloodstained Orchids" I was pretty impressed. The acting is pretty good compared to some other giallos I've seen and the plot is actually coherent without having to watch it fifty times.

    Now, over a year later, and having seen several more giallos, I think this film is rather bland. The suspenseful scenes with the killer are rather predictable. This film is not only tame for a Lenzi film, but tame for a giallo. There is really only one memorable murder sequence: the one with the drill.

    I'd recommend several before recommending this one. I'd also recommend a cup of coffee before viewing because it drags in parts and the ending is a bit lackluster.

    5 out of 10, kids.
  • Women are being murdered apparently at random....with their masked and gloved murderer leaving a crescent half moon in the hands off his dead victims Police are baffled but get a break when his third victim survives the attack. The Police announce that the victim in fact died hoping that this will aid their pursuit. The husband(Antonio Sabbato) of the third victim unhappy with the Police efforts decides to investigate for himself. Excellent Giallo from Lenzi with first rate story…It does surprise me that some Gialli are classed as Horror though…I would think they belong more in the Thriller genre as there isn't too much Horror here with the exception of the DRILL scene………The film contains some stunning photography and the beautiful picturesque scenes of Rome reminded me of my recent trip to Italy and how wonderful that country is as a holiday destination and of course the female victims are quite nice to look at too. I wouldn't like to give away too much of the plot,but suffice to say if you see this you will not be disappointed. Highly recommended.
  • Umberto Lenzi's "Seven Blood-Stained Orchids" is a surprisingly well-made and captivating giallo.A black-gloved killer is murdering beautiful women and one of them survives,but her assailant thinks that she is dead.So her hubby decides to look for the killer.The film is never boring and there are some tension-filled moments.The murders are pretty tame,but the power drill scene is quite gruesome.The women here are absolutely gorgeous and there is a nice amount of nudity.The opening with the black gloved figure driving at night is a terrific scene.So if you're a fan of Italian giallos you can't go wrong with "Seven Blood-Stained Orchids".Highly recommended.9 out of 10.
  • A killer with black gloves is murdering women and leaving silver crescent moon emblems on their bodies in this Umberto Lenzi directed film, which is quite a good deal easier to follow then his later made "Spasmo". Mr. Lenzi was never in the same league as, say Dario Argento or even Sergio Martino, but for me this film of his came the closest to either of them. The acting is good, although the DVD-version that I own sadly doesn't contain a sub-titled original language version. That's the only grip that I can think of right now. If you love the giallo sub-genre like I, you would do yourself well by seeing this one.

    My Grade: B-

    DVD Extras: Gabriella Giorgelli; Interview with Umberto Lenzi; liner notes; Art Gallery; Theatrical Trailer; Trailers for "Eaten Alive" and "Spasmo"

    Eye Candy: Gabriella Giorgelli's mammoth melons get unleashed; Marina Malfatti does the same but pales in comparison; and a few hippie extras
  • A serial-killer is attacking women in Italy, leaving a silver moon near their corpses. While traveling to Paris by train with her fiancé, the famous designer Mario Gerosa (Antonio Sabàto), Giulia Torresi (Uschi Glass) is assaulted by the serial-killer in her cabin. Police Inspector Vismara (Pier Paolo Capponi) decides to hide that Giulia has survived to protect her. Mario decides to investigate the victims and finds that six women had been in the hotel Giulia owned in the past. They travel expecting to save the women that have not been attacked before the killer finds them.

    "Sette orchidee macchiate di rosso", a.k.a. "Seven Blood-Stained Orchids", is a thriller that could have been better. The plot is not engaging but there are violent murders. Indicated only for fans of giallo. My vote is six.

    Title (Brazil): "Sete Orquídeas Manchadas de Sangue" ("Seven Blood-Stained Orchids")
  • Although this was director Lenzi's fifth (virtually) successive entry in the Giallo subgenre, as the title itself indicates, it was his first real 'body count' effort; it also turned out to be the last film produced by German company Rialto, noted for making Krimis which, for all intents and purposes, featured many traits of the later and more violent Italian Gialli. Composer Riz Ortolani's typically cool lounge tune over the opening credits is virtually the whole score here since variations of it are played throughout the film and, in hindsight, emerges as easily the most memorable thing about this average thriller; incidentally, I knew I had heard the song featured towards the midpoint of the film somewhere before and, as it turned out, it was lifted from an earlier genre effort by the same director – SO SWEET…SO PERVERSE (1969)!

    While even the casting here is somewhat subpar with bland leading man Antonio Sabato and underused Rossella Falk and Marisa Mell (albeit in an unconvincing dual role), most of the girl victims (including Uschi Glas, Marina Malfatti, Gabriella Giorgelli) are certainly attractive as per the standard formula requirements but, atypically, none ever get truly naked. The rest of the male cast is made up of Pier Paolo Capponi (as the investigating Inspector), Claudio Gora (as an enigmatic clue-dropping stranger) and ubiquitous character actor Nello Pazzafini as the obligatory brutish but ultimately innocent suspect grilled by the Police. Needless to say, the presence of the equally mandatory gloved killer makes itself felt right from the very first scene but, funnily enough, here he is also made to dispose of his first victim's elderly mother or concierge asleep in the next room!

    Although the motive for the murders is the tried-and-tested one of revenge for the death of a relative, the way the serial killer obtains his list of potential victims (a page of a signing-in book at a hotel they had all worked at during the previous year) is far-fetched. The "half moon" talisman left by the killer as his signature on the scene of the crime coincidentally ties the film to the unrelated Hollywood fantasy flick THE MAN IN HALF MOON STREET (1944) that I have just watched as part of this ongoing "Halloween Challenge" and, indeed, the film was even released under the alternate title of PUZZLE OF THE SILVER HALF MOONS in some territories! Par for the course is the investigation independently initiated by fashion designer Sabato soon after his 'fresh' bride Glas is assaulted on the train taking them to their honeymoon destination; somewhat foolishly, the film makes use of the same ruse of purposefully misinforming the murderer firstly of the success of his latest attack (Glas eventually goes into hiding) and later of Sabato's arrest (thus giving him free rein to conduct his attempts at amateur detection). Ultimately, a Giallo is only as good as its group of assorted potential suspects and, in this case, there are only three: an American émigré leading a hedonistic lifestyle in a hippie-like commune, nervous socialite Mell (who also gets the film's premiere murder set-piece via a driller to the chest – but, unluckily for the killer, it is her lookalike 'innocent' twin who gets it!) and a mousey priest.

    Once the lifeless body of the blond Yank is found hanged, the priest-killer reveal is rendered predictable (also because we keep going back to him for no evident reason) and links it with DON'T TORTURE A DUCKILING (1972) but his drowning comeuppance is pretty weak and anticlimactic – especially compared to the visceral one suffered by the child-killing clergyman in the latter Lucio Fulci film! Unfortunately, unlike the positive comments I had expressed regarding the English dubbing of Riccardo Freda's THE IGUANA WITH THE TONGUE OF FIRE (1971), the one present here is mediocre at best.
  • While those who have never seen a thriller, mystery or horror film before might find this dreck worthwhile, most others will consider it an insignificant P.O.S. And no, I don't mean a "Pretty Outstanding Shocker." What I mean is that it belongs in a toilet, where it should be immediately flushed and then spend the rest of its existence in a slow state of decomposition. This lifeless and painfully trite little turd could not possibly be more dull and clichéd. There is no energy here, no kinds of surprises or shocks and a kindergarten-level plot that fails to drum up any interest along the way. Acting is rotten also with special mention going to Antonio Sabato, who sadly has the largest role and goes through the entire movie with the same annoying, clueless looking scowl plastered across his smug face. Elfin Uschi Glass keeps her clothes on as the female lead. Too bad they didn't hire Edwige Fenech. Not because she's a great actress but because she at least always took her clothes off. Now it's time to discuss the plot. Oops my bad, there isn't one! Make sure to wipe twice after viewing this mess.
  • Vomitron_G20 February 2010
    I first saw "Seven Blood Stained Orchids" about 3 years ago and I remember being extremely surprised by it. In a good way, that is. This was the first Umberto Lenzi film I saw that was actually really good and showed a lot more style than his trashy & gory outings from the 80's. I was initially to give this movie 8/10, but I had to subtract one point because I guessed who the killer was before the final scenes. And that's a bit too bad, because this is a really good giallo with a solid mystery story that makes sense. The good thing was that I only knew who the killer should turn out to be, and not what his relation was to the events and the characters. So there are enough interesting things happening and plot elements to keep you going. The music was simply groovy as hell. I would love to own that soundtrack . In recent years I've caught up with quite some giallo films, and "Sette Orchidee Macchiate Di Rosso" sure remains a winner! The odds are even very likely that when I re-watch this baby, I just might chip in an extra point again.
  • One thing that many Giallos suffer from is low quality production values, which doesn't bother me too much - but it can give them a very unprofessional feel, which accounts for a lot of the reason why many Giallo haven't received the praise that they rightly deserve. That certainly can't be said for this one, however, as Seven Blood-Stained Orchids is as beautiful and professionally made as Giallo comes! The sets are lavishly captured, and the way that their colours soak the screen gives the film a potent aesthetic edge. The music bodes well with director Umberto Lenzi's camera-work and also, somewhat strangely for Giallo, the plot isn't too convoluted and, while its not very intricate - it moves well and everything makes sense! The plot follows the murders of two young girls. These are seemingly unconnected, except for the fact that both girls have a piece of jewellery in the shape of a half moon on them when they died. After the attempted (but not successful) murder of another woman, her and her husband team up to catch the killer before he can kill another four women that they believe are on his 'hit list'.

    One common aspect of the Giallo that Seven Blood-Stained Orchids hasn't managed to get over is the terrible dubbing and trite script. Don't get me wrong, neither are terrible examples - but they could make this hard viewing for people that haven't seen much of the sub-genre. It hardly matters, though, because the rest of the film is more than ample to mask these small complaints. The acting is surprisingly good, with an experienced cast of Italian film actors doing well at portraying their respective characters. Umberto Lenzi, more famous for splatter flicks such as Nightmare City and Cannibal Ferox, has kept the gore surprisingly restrained for this film, with only one sequence involving a drill springing to mind for anything like splatter. This is never a problem, however, as the murder sequences on display are brilliantly done, and this is a film that doesn't need gore in order to work. The mystery is well plotted, and definitely catches the 'thriller' feel - but it disappointed me slightly as no red herrings were thrown in, meaning the audience is left to unravel the film WITH the central characters, rather than being able to take a stab themselves. Still, even that hardly matters - and Seven Blood-Stained Orchids is easily one of the best Giallos ever made.
  • Warning: Spoilers
    A series of seemingly unrelated women are brutally murdered. The only clue is the silver crescent moon shaped pendant the killer leaves with each body. After the killer is unsuccessful in his attempt to murder a woman on a train, she begins to put the pieces of the mystery together. With the help of her husband, she begins to suspect that the murders may have something to do with a specific period of time years previous when she and the other victims were connected to the hotel her father owned. But can she solve the mystery before the killer discovers she is still alive and strikes again?

    Seven Blood-Stained Orchids is a very solid Giallo. It's not as flashy as some as some other Gialli, but the mystery aspects of the movie are intriguing. Seven Blood-Stained Orchids plays out a lot like an Agatha Christie story with a mysterious event in the past, a few baffling clues, and a red herring or two thrown in for good measure. Sure, there are the natural plot holes you'll find in other movies of this type, but they hardly get in the way of the fun. As you might expect, the movie features a few nasty death scenes including one involving power tools. Finally, the supporting cast includes more than a couple recognizable faces to fans of 70s genre films including Antonio Sabato, Marina Malfatti, Bruno Corazzari, and the always delightful Marisa Mell.

    I've always felt that Seven Blood-Stained Orchids would make a good starting point for someone new to Gialli looking for something other than the more well-known films of Argento and Bava. It's a good representation of what the genre has to offer.
  • (aka: SEVEN BLOOD STAINED ORCHIDS)

    The half-moon killer is on a mission to kill the seven women who attended a seaside resort the night his brother was killed in an automobile accident with one of the women. He doesn't know which one (and doesn't really care) so all seven have to be murdered in serial killer-like fashion, including Gulia (Uschi Glas) who owned the hotel at the time.

    She and her husband Mario (Antonio Sabato) then spend the next 90 minutes sleuthing the killer out after he attempts to kill Gulia on a train. The gore is restrained except for one murder where the killer uses an electric drill to dispatch his victim.

    Lenzi did a pretty good job with this Edgar Wallace murder mystery and you never know what's going to happen next or what Mario and Gulia turn up as the clues mount. And the killer's identity is a surprise which makes it effective without giving away any clues before hand until it needs to be given away.

    The Shreik/Media Blasters anamorphic DVD is excellent with nice widescreen colors and no damage to the film elements they used. Sound is dubbed in English although the original Italian with English subtitles would've be nice.

    Extras include a brief poster gallery and interviews with Lenzi and Gabriella Giorgelli, who played the first victim, a hooker who is slashed to death at the beginning of the film. Giorgelli has aged quite a bit since the film's release in 1971. I didn't even recognize her.

    If you're into giallo like I am, then this is a welcome addition to your collection. Fully recommended.

    7 out of 10
An error has occured. Please try again.