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  • I am required by law to mention that this film is similar to Nicholas Roeg's Don't Look Now, made a year later. So that's that out of the way.

    Who Saw Her Die begins in the French mountains with a red-haired girl being murdered by what looks like an old woman wearing a black veil. We then kick in with Ennio Morricone's outstanding soundtrack made up of a child's choir and harpsichord – a far cry from twangy guitars and harmonicas! I should note here that this soundtrack woke my daughter up and freaked her out from two rooms away!

    In Venice, skinny sculptor George Lazenby is happy that his daughter Roberta has come from London to visit him, although it's clear by her absence that things aren't going too well with his wife Anita Strinberg as she's stayed behind. Worse still, an old woman in a black veil stalking the kid and seems determined to murder her, which happens while George is banging his mistress.

    George is distraught and blames himself for his daughter's death, leading him on an obsessive quest to find the killer, which will lead him down sleazy avenues involving the rich and powerful in Venice. This being a giallo, the killer gets wind of this and tries to eliminate some of the witnesses…

    Even though it's not a top tier giallo, this film is still worth a watch due to the misty Venice location shooting, Morricone's creepy soundtrack, and the acting talents of Adolfo Celi, who here, like in the film Eye of the Labyrinth, can seemingly change his mood and personality with subtle facial expressions and posture. The mystery isn't that hard to solve if you've watched a few of these films, but that's not going to put anyone off, is it?

    Why are Lazenby and Strinberg so thin though?
  • ODDBear3 June 2005
    A child murderer is running loose in Venice. Distraught father Lazenby investigates after his daughter is killed.

    A superb giallo from Aldo Lado. From the very first scene Lado builds up a tense atmosphere that holds it's grip on the viewer until the very end. In keeping up with some of the giallo's best trademarks, this film has excellent photography, making good use of Venice's enchanting scenery. Ennio Morricone's haunting musical score is another huge plus.

    The film is well written and has a good story, albeit a bit complicated. It took me two viewings to get everything, but maybe I'm just a little dense at times. Maybe it doesn't bear too much scrutiny, but I didn't find any huge plot holes. The revelation of the killer is, as in most giallo's, quite a surprise. I'm guessing you won't guess it.

    George Lazenby (in my opinion a very underrated Bond) is a very likable leading man, gives a credible performance as the grieving father and amateur sleuth and Anita Strindberg looks smashing.

    I advice you the check this one out if you're a fan of this genre.
  • Very well-crafted giallo is an obvious precursor to Nicolas Roeg's ingenious and similarly Venetian-set "Don't Look Now". Suspenseful, engrossing and with some skillful visual flourishes--such as the black-veiled killer framed against a snowy landscape--makes it clearly stand from its sleazier counterparts in the genre. Ennio Morricone's delirious score is one of my favorites and nearly impossible to shake from your mind!
  • Warning: Spoilers
    I consider myself a relatively big fan of the giallo genre, though I haven't seen nearly as many as some that I talk too - but I figure at this point I've seen enough to separate the notable entries from the weaker ones - and WHO SAW HER DIE? is honestly about the lamest that I've seen so far. It started off well enough and held interest until about the halfway point, and then pretty much completely dropped the ball after that...

    A famous sculptor's young daughter comes from her home in London to visit him in Venice. She is murdered while on her holiday, and the sculptor spends the rest of the film running around Venice trying to find clues to his daughter's murder...

    Honestly - WHO SAW HER DIE? fails on pretty much all levels. The storyline gets confused and redundant after the daughter's murder, characters are introduced who are thinly explained, and the "resolution" is dumb and forced as though the director couldn't find an adequate way to tie the film together. Scenes of the father running from one locale to the next are dull and repetitive. Even the few murders in the film are pretty weak and uninteresting. As to the couple of minor "good" points - the Venecian setting is nice and adds a bit of atmosphere to the film, and sexy genre favorite Anita Strindberg gets nekkid a few times. That's about all that's going for this one. Not a completely horrible film, but definitely sub-par for the genre, and I would consider this one either for giallo completists only, or a skip altogether...4/10
  • For those of you wondering whether George Lazenby ever made another picture, after incarnating the most under-appreciated Bond ever in 1969's "On Her Majesty's Secret Service"...well, here he is, three years later, in the Italian giallo "Who Saw Her Die?" In this one, he plays a sculptor named Franco who is living in Venice. When his cute little red-haired daughter is murdered and found floating in a canal, Franco naturally embarks on a quest to find the demented child killer. Lazenby, it must be said here, is almost unrecognizable from three years before. He sports a sleazy handlebar moustache in this film and looks decidedly thinner, almost gaunt, as if he'd been afflicted with a wasting disease in the interim. And the film itself? Well, it's something of a mixed bag. Yes, it does feature stylish direction by Aldo Lado, as well as a pretty freaky score by master composer Ennio Morricone, consisting largely of echoey chanting. We are also given plentiful scenery of Venice, which looks both beautiful and seedy here, an intriguing story to set our mental teeth into, AND Adolfo Celi, always a welcome presence (and another Bond alumnus, from "Thunderball"), here playing a mysterious art dealer. On the down side, I must confess that I was at a loss to understand what the hell was going on throughout most of the picture; what explanations do come toward the end are either half heard from distant rooms or grunted out during fisticuffs. Dubbing doesn't help matters (subtitles would have been a nice option), and the film is never particularly scary or suspenseful. I'll probably need to sit through this one again to get a better handle. Still, "Who Saw Her Die?" remains an interesting, nice-to-look-at giallo, nicely captured here in widescreen on yet another fine DVD from Anchor Bay.
  • Warning: Spoilers
    Venice is a gorgeous city full of canals, garish colors and stunning architecture. Setting a film in this city is always a plus because you are guaranteed an interesting backdrop. Unfortunately, when the city itself turns out to be the best part of the entire movie, you know you are in trouble. Even more disheartening, CHI L'HA VISTA MORIRE (known to English-speaking audiences as WHO SAW HER DIE?) is cynical enough to use Venice as a distraction technique to keep people from realizing that this is simply just another tepid, poorly paced, clichéd-to-the-max murder mystery we've seen dozens of times before. Only slower. Very, very slow. I'm talking moving at the speed of a tortoise with three broken legs slow. I guess it takes a special kind of director to make a film about a serial killer of children this devoid of emotion, this bland and this uninvolving. Aldo Lado is not helped any by a cast of non-actors who sleepwalk through their respective parts, but he is especially not helped at all by his own uninspired direction.

    One of the key shots in the film is a killer's POV shot. At first, the shot is effective at building up the creepy, off-screen menace getting ready to strike out. The shot looks through a thin black veil (presumably that of an old woman), watching victims as the Ennio Morricone music (an increasingly annoying children's choir) slowly starts to creep in. But then this same exact shot with the same exact music keeps being repeated over and over and over again for almost all of the horror related scenes. To make matters worse, the shot is used pointlessly on multiple occasions where nothing even happens. A common technique used in horror films is the "cheap scare." You know, like a cat jumping out of a closet to startle a character, and the viewer. In this film, the veil scenes are simply "cheap suspense" because the script fails to create any honest suspenseful/horrific scenarios based on the storyline, plot, characters or dialogue.

    Another major problem are the characters. They are poorly developed, shallow and completely unsympathetic, and the actors portraying them seem disinterested in the material. You could care less about them or what happens to them. George Lazenby never once comes off as as impassioned or driven, which is important to the believability of his vengeance-seeking father character. Just like him, this film is cold, clinical, technical, by the numbers; basically just going through the motions in a completely lifeless manner. Sure, this film could have been cold in a calculating, disturbing way, but it's not. It's just cold in an off-putting, blasé kind of way. And the ending reeks of desperate, lazy film-making and writing. The identity of the killer is supposed to be a surprise, but it's not a surprise in context of the script, it's a supposed surprise based on an occupation; a costume.
  • nippy-45 October 1999
    WHO SAW HER DIE (1971)is a classic and very underrated giallo. I think it is excellent packing an emotional punch due to Ado Lado's skilful direction and the haunting Ennio Moriconne score. It is very stylish and due to the striking appearance of the killer who wears a veil over the face there are some truly striking images. Also the acting is better than in you usual giallo. IMO ,ex-James Bond, George Lazenby is particularly convincing as the mourning father obsessed with finding the murderer of his young daughter. The most impressive aspect of this film however is the way the location, Venice, is manipulated by the excellent cinematography. It is transformed into a sombre, claustrophobic maze consisting of Renaissance-esque buildings peering through the mist and surrounded by calm, soothing waters. IMO there is a very apparent influence on the famous art-house thriller DON'T LOOK NOW (1973). Apart from the obvious plot and location (Venice) similarities, there is a sex scene featuring Lazenby's character and his wife which is intercut with the two lying in bed next to each other weeping and reflecting on their childs death. In DON'T LOOK NOW there is a similar scene with Donald Sutherland and Julie Christie in the role of Lazenby's character and his characters wife. The only difference being the sex scene is intercut with the two getting dressed afterwards. The way the scenes are shot is also very similar, both using jagged editing. A classic movie that is hard to find and challenging to watch.
  • Aldo Lado is surely one of the most under-rated Italian directors of the 70's. He seems to be relatively forgotten, while several lesser contemporaries get a lot more attention. But whatever the case, Lado was responsible for three excellent horror/thrillers in the mid-70's. There was the nasty revenge thriller Night Train Murders and a couple of gialli - the Prague-set Short Night of the Glass Dolls and the Venice-set Who Saw Her Die? All films were very distinct from one and other and all had considerable style to burn.

    Who Saw Her Die? is the one which follows the classic style formula of the giallo most closely. In it a serial killer is on the prowl in Venice. Like Nicholas Roeg's Don't Look Now, this one used the crumbling streets of that famous ancient city to great creepy effect. It begins, however, in the French Alps with a nicely atmospheric prologue in which a young child is killed by a black-veiled killer in the snowy expanses. This villain is a very good one and is presented throughout the movie in a very sinister manner indeed, with close-up shots of their shoes as they menacingly advance toward their victims and shots of their obscured veiled face. Additionally this character is accompanied by an absolutely rivetingly creepy Ennio Morricone theme which is a controlled cacophony of a children's choir over a steady beat. It's one of his most memorable individual bits of music and that's saying a lot considering the sheer volume and quality of Il Maestro's output. The cast is solid with George Lazenby appearing in his first starring role following his solitary turn as James Bond in the under-valued On Her Majesty's Secret Service; while he is ably supported by genre regular's such as Anita Strindberg (The Case of the Scorpion's Tail) and Adolfo Celi (Danger: Diabolik).

    As far as I am concerned, this is an excellent giallo by one of the most reliable Italian directors from the period. It works well as a pretty intriguing mystery, while it delivers the requisite vicarious thrills too. And most importantly it presents these things with a healthy slice of style and verve. Well worth seeing…!
  • _Chi L'ha Vista Morire?_ is, visually, a very beautiful film. From the first shots emphasising the starkness of the alpine landscape which segue into similarly stark black and white photos and drawings from a police file to the closing scenes, the cinematography is beautiful. In particular, one shot in which a flock of pigeons taking flight in a town square provides a metaphor for the rising panic of the father, played by George Lazenby, struck me as particularly beautiful - both aesthetically pleasing in its own right and a very tasteful way to lay the ground for the scene that follows. A unifying visual motif is the veil worn by the killer, which makes for some interesting point-of-view shots, although the impact must have been blunted somewhat by viewing on video.

    Unfortunately, there's some flaws that detracted from the experience for me. Lazenby does not speak Italian, so his lines are dubbed. At times, the sound level appears to be much too high, making the dubbing glaring. Similarly, the soundtrack is at times overbearing, particularly during appearances by the killer, whose discordant "theme music" became incredibly annoying, particularly when the rest of the film was marked by such a light touch. Mercifully, this problem is rectified at the climax and the music is cut short.

    On the visual side, watch for some very fake looking blood. Many scenes (particularly interior scenes) are very dark, which caused me some problems in determining what was going on, but again this may have been compounding by watching on videotape rather than the big screen.

    Overall, a satisfying mystery film, if a little slow-paced.
  • WHO SAW HER DIE? (1972) *** George Lazenby, Anita Strindberg, Peter Chatel, Adolfo Celi. In this engaging giallo directed by Aldo Lado, George Lazenby plays Franco Serpieri, a well-known Venetian sculptor. After Serpieri's young daughter is murdered, he grows impatient with the efforts of the police and tries to find the killer himself, with some help from his estranged wife (Strindberg). The film sticks to a familiar formula: the likely suspects are killed off one by one, and the last man (or woman) standing is revealed as the murderer. But the process feels clumsier than it ought to here, and since the killer turns out to be one of the film's least developed characters, the ending is less than satisfying. Fortunately, though, painterly cinematography and an intriguing score by the brilliant Ennio Morricone help compensate for the weaknesses of the script. Recommended.
  • cbdunn11 December 2003
    Warning: Spoilers
    I have been a fan of the Italian "Giallo" movies for about ten years now. This film was released by Anchor Bay in a four dvd collection towards the middle of 2002. This film is a classic example of what the Italians had to offer during the 1960's and 1970's. The imagery and cinemaphotography are superb. The acting is pretty good. I am puzzled as to why George Lazenby was dubbed!? Very odd.

    ++++++++++++SPOILERS++++++++++++++++ The story (as with most giallo) is about the murders of several children that have gone unsolved. The killer's face is not revealed and there is the possibilty that it is being committed by a woman!? However, the killings have started again. Is there a connection? Why is George Lazenby's character so interested in becoming a semi-gumshoe? Watch the movie and find out. A major plus (and addition to the mood) is the haunting score by the one and only Ennio Morricone. His music is just as great as always. For those people in the Louisville, Kentucky area who might be interested in seeing this gem...seek it out at Wild and Woolly Video.
  • (aka: WHO SAW HER DIE?)

    Not as good as SHORT NIGHT OF GLASS DOLLS, the giallo film Aldo Lado did the year before, which I also happened to see the same time as this one.

    I HATE the Morricone soundtrack. It's surprising to say that, but it's true. It's nothing more than an annoying children's choir that grates on one's nerves after awhile. Blah...I never knew a Morricone score could be this annoying.

    Venice is rocked by the murder of children. The child murderess is always dressed in black with a big veil draped over her head. George Lazenby's daughter is found dead in one of Venice's canals and it is now up to him to find the killer. There's a convoluted sub-plot involving art dealers protecting someone, that's a real mess.

    Then a woman Lazenby is supposed to meet in a theater is strangled by the killer and nobody else in the theater notices it until Lazenby sits down next to her. It's not even very dark in the theater so how come nobody noticed it? Sloppy and unbelievable.

    Jeez, Argento did this kind of thing so much better while Lado makes it look a unconvincing cliché, here. In no way did I sense any tension or suspense with what looked like scenes of someone just going through the motions.

    The kid getting murdered at the beginning looked fake, too. It obviously looked like a small mannequin with a red wig. Clumsy and sloppy, done on the cheap which the DVD makes even more apparent. Plus no motive is ever given as to why the killer only picks little red-haired girls to murder. The voices are also poorly dubbed with the children having adult voices, sounding like children. George Lazenby's daughter sounds older than he does as being one prime example. This is really bad, making the script sound even more amateurish than it should be.

    And speaking of Lazenby, he looks like he lost a lot of weight here compared to his 007 days from a couple of years earlier. He looks like a long-haired junkie or someone ill with some kind of disease. Clearly not his usual, healthy-looking self.

    The ending isn't surprising at all since it falls under the standard giallo cliché of copying Alfred Hitchcock from the 1960s. If you see enough of these films, you'll know what I'm talking about. I knew who the killer was a half an hour into the film, so you'll just have to see it for yourself.

    The Anchor Bay DVD is up to their usual high standards with an 11 minute extra commentary by the director himself. A very pristine, wide-screen print is used. Plus we get to see beautiful Venice locations as part of the deal.

    Get's a 3 out of 10 for boredom and annoyance
  • "Who Saw Her Die" was a great little surprise. I had been searching for it for a little while, and when I had found it, I was happy to find that it was a much better film for actor George Lazenby ("On Her Majesty's Secret Service"), then the other films he had been making at that time ("Universal Soldier", "Stoner" etc.). It is a tad annoying to see that he was completely dubbed (a standard Italian practice I've heard), but I didn't find this too distracting from the film. It does however contain a great eerie soundtrack supplied by Ennio Morricone, which seems to jump in everytime we are viewing the killer's point of view through a veil. It's also a lot more mature than the typical Italian Giallo of that time, It's never too grautuidice in it's gore or nudity. It does contain great cinematography, especially great if viewed in widescreen. George Lazenby's daughter in the film is played by a little girl that seemed to play in every Giallo/ Horror flick that ever got produced in Italy ("Bay Of Blood", "Deep Red", and "Andy Warhol's Frankenstein"), which is due no doubt to her very unusual looks. Also, the fact that they have a cameo from Adolfo Celli ("Thunderball") makes me think that director had a James Bond fascination. The only problems I really have of the film, is that the ending is a little unclimactic and predictable (you guess who it is, before they show you). A slight influence from Nick Roeg's "Don't Look Now" is evident. Other than this, quite a little gem of a film. And actually hold's up to some of Dario Argento's earlier work, if not better.
  • This superbly stylish giallo and gripping precursor to "Don't Look Now"(1973)about a child murderer is one of the finest Italian thrillers I have ever seen.George Lazenby shines in a lead role,while wonderful Anita Strindberg more than makes up for it with charm and gusto.It's also very nice to see Nicoletta Elmi("Demons","Deep Red")in a small role.The killings are well-handled and fairly gory and the score by Ennio Morricone is simply masterful!Highly recommended.
  • Someone's lurking around Italy murdering small children. The daughter of a divorced artist (played blandly by one shot "James Bond" George Lazenby) becomes a victim. He sets out to find the killer and spends the majority of this so called thriller basically running around Venice examining a handful of horribly underdeveloped supporting characters. Clichéd writing, dull direction and unbelievably stiff acting all combine to create a monotonous viewing experience. Notable only because it is one of the few films in this genre I've seen that truly has nothing at all to offer the casual viewer. There's a total absence of thrills, scares, suspense, horror, intrigue, drama, you name it and you will find this movie lacks it. Just when you think it can't get any worse, it decides to go that extra mile with a truly pitiful resolution to the mystery that a semi-retarded 6 year old could have easily yakked up. The whole thing is pointless in the extreme and an insulting waste of time and money. If you want a quality mystery, thriller or horror film, by all mean look elsewhere!
  • Warning: Spoilers
    I just watched this one, and I have to say it's way, WAY above average giallo. Directed by Aldo Lado, the director of "The Short Night of Glass Dolls" (which took place in Prague), this one takes place in Venice, and the photography is as beautiful as ever.

    One thing in this one that's almost entirely lacking is humour. This one is serious, people.

    *SPOILER ALERT* The little girl who is the second victim of the killer... it's really nasty, because you've already seen her playing with other kids, interacting with her daddy... she's not just a piece of meat to be killed in another giallo. That sets the tone for this film pretty much, and this giallo is not funny, it's serious. But it's great if you get into it.
  • Warning: Spoilers
    Though handicapped by improbable coincidences and contrived exposition (characters overhearing revelatory dialog exchanges), this is still an amazing, stylish giallo. Though I prefer director Aldo Lado's "Night Train Murders", a more technically accomplished and explicit thriller, "Who Saw Her Die?" still bears the Lado trademarks of great locations, perverse characters, inflammatory subject matter and astute marrying of music to image. In addition, Lado casts his films well (George Lazenby, arguably the second best Bond, is convincing) and is an adept hand when it comes to interesting juxtapositions. A scene in which a girl's body is revealed floating in a river beside a busy fruit and vegetable market is a fine example of cinematic irony. Ennio Morricone's score is simple but effective and is used like the killer's accomplice, fading up on the soundtrack when the veiled killer is lurking. The presentation of the killer's POV pushes the credibility envelope at times when particular characters seem not to acknowledge him but clearly would. The fog-enshrouded Venice locations provide for great atmosphere, as does the rambling Venetian waterfront. The killings are relatively bloodless, but this lack of crimson is more than compensated for by the perverse subject matter.
  • Warning: Spoilers
    • When a young girl is murdered, her father, Franco Serpieri (George Lazenby), soon grows weary of the ineffective police and decides to start his own investigation. He discovers that his daughters death may be related to other murders of little girls with red hair. He also discovers that some of the people with whom he associates may have something to hide. What he doesn't realize, however, is that the killer will do anything to keep those with knowledge quiet and stop the investigation.


    • Who Saw Her Die? is easily one of the better gialli that I've seen. While much of it is textbook giallo (a black-gloved killer, ineffectual police, investigation by a private citizen, red herrings everywhere, etc.), it is all handled in a very effective manner. Aldo Lado builds a nice level of atmosphere and tension throughout the movie. He is aided by having one of the best scores Ennio Morricone ever did. While it may be somewhat repetitive, the main theme is certainly chilling. The setting is absolutely superb. The streets (or should that be waterways) of Venice provide a great backdrop for a murder mystery.


    • I've read numerous complaints about Lazenby in the lead role. I just don't get it. Could it be a little backlash against Lazenby and his unfairly criticized turn at playing James Bond? My only complaint with Lazenby actually has very little to do with him. I don't know why it was decided to use someone else to dub his voice, but it was a bad decision. Other than that, Lazenby is fine in role.
  • An obvious catalyst to Nic Roeg's Don't Look Now. This film had a great first half but after that it sort of lost the plot a bit. The ending was horrible and some of the dialogue to risible. On the positive side, the settings were splendid and the music was harrowing at times.If your interested in Giallo films this is not the place to start your mission. Try Aldo Lado's far superior Short Night of Glass Dolls instead.
  • Warning: Spoilers
    'Who Saw Her Die?' was the most unpleasant movie watching experience that I had in quite a while. Frankly, I think it's trash, so I'll try not to put too much energy into this write-up. After a not-horrible start it only continues to get dumber by the minute. After the daughter gets killed (which everyone knew would happen after a few annoying false alarms) it gets completely lost in Dullland®. I'd be lying if I said I could follow the plot, there were too many utterly useless characters to keep track off, and nothing what I read about the film has led me to believe that it all makes sense, either.

    The characters are walking, human shelves, the drama is unconvincing. My two favorite parts in this regard are the one in which Lazenby first tells his daughter that there is no time for her to play with the other kids, but then decides otherwise, holds her jacket and runs off without saying another word to have sex with his mistress, later to walk directly home, where, after a bit of sculpturing and getting a bottle of cognac ready he starts wondering where his daughter might be. "Hm, I wonder where that kid is...what's here name...I just wanted to offer her some of this delicious beverage." The other scene is in which the mother, after having lost her daughter abroad while under the care of her ?semi-divorced? husband tells him to "please listen to reason, please can't we just try to forget what's past." Yeah, move on, Franco! Our only daughter was murdered, let's just, like, forget the brat and try better next time!"

    The movie theater killing is indescribably ridiculous and the final point at which I gave the movie up. Later we have a pointless scene (which is only there to show off a nice location) that almost equals the aforementioned scene in ridiculousness; it's the scene in an old warehouse-like building. It has one character following a character following another character walking aimlessly, one character being attacked by another one, evil characters suddenly disappearing and a good one suddenly appearing. The movie ends appropriately silly so that nobody should be deceived in thinking that this is some kind of masterpie...good movie. The explanation WHY we had to endure all this is silly, but that's the least of it. It's also wafer-thin and that simply doesn't cut it. Also the bad English dubbing only adds to the flick's overall lack of quality.

    Even the music, easily the best part of the production - even without identifying the composer as the Morricone - becomes a repetitive nuisance as the main theme is not only overused but also always used in the same situation and you can actually tell exactly when it will start before it starts (which is ALWAYS when we get a look at one of the killer's body parts). It's also clumsily used when it cuts off abruptly because the film cuts away from the situation, just to come back again when the film cuts back on it. A real button-pusher's job.

    The seeing-the-action-though-the-unidentified-killer's-eyes giallo stick remains to be alien to me. What is the killer, a great white shark? Do I give a crap who it is? In the case of this movie certainly not. When the killer was identified (there was only one thing we could be sure of beforehand, that the killer is a guy who likes to wear dresses) I knew I have seen the guy before, but I couldn't even remember who the character was.

    Not even the title makes sense. Why is it called 'Who Saw Her Die?', the plot, at no point in the movie, is ever asking for any witnesses to the murder.

    Crap, I did put too much energy into a waste of time again.
  • To my shame, I've yet to see Nicholas Roeg's celebrated 1973 classic Don't Look Now, which by all accounts was heavily influenced, both thematically and stylistically, by this lesser giallo by Aldo Lado (The Night Train Murders, Short Night of the Glass Dolls). I can only hope that Roeg's film doesn't prove equally as disappointing...

    Boasting decent cinematography, a brutal veiled killer who thinks nothing of killing kids, and a haunting Ennio Morricone score, Lado's film possesses an undeniably unsettling atmosphere, but still manages to be a frustratingly weak affair overall, a dreary, unmemorable murder mystery so baffling that it really isn't worth the effort trying to follow.

    After several relatively tame murders that slowly whittle down the list of suspects, and scene upon scene of hippy-haired, mustachioed artist Franco (George Lazenby) running around Venice following a trail of clues, we finally find out who the killer is and what their silly motive is. Be prepared to be seriously under-whelmed and quite possibly still very confused.
  • Released a year before Roeg's great Venetian mystery drama "Don't Look Now", this - thanks to the fine location work - stylish and good-looking giallo is otherwise vastly inferior to its counterpart despite their narrative similarities.

    The attempts at suspense and thrills are ridiculous, the character motivation is idiotic beyond belief, the suspects are just a bunch of comic freaks, Morricone's score becomes grating after a while and the denouement is obvious from the get-go.

    Though polished and featuring a comparatively prominent cast - with Lazenby looking particularly unhappy -, this crude and tasteless genre offering is even worse than some less known gialli.

    2 out of 10 unveiled killers
  • I got to hand it to Aldo Lado. His movies never fail to amaze me. They are smacked full of emotions and surreal images and simply take my breath away.

    PLOT: A girl visits her father and something terrible happens.... I really cant tell you anymore without spoiling the whole flick.

    WHO IS IT FOR?: Well it`s for anyone; almost. It`s not to violent or trashy, but still it`s a pretty strong film. If you are a parent of, or know a child who has been hurt or molested in any way, this is probably not a movie for you. The images are not too strong but the context and insinuations shore are. Be warned.

    GRADE: 10 out of 10
  • A totally astonishing plot that involves brutal murders and a captivating hunt for the culprit, efficient red herrings and plausible plot twists, genuine tension, gorgeous women and macho heroes, unsettling violence filmed at beautiful locations, ingenious cinematography and – most of all – an eerie musical score that will haunt your dreams for several more nights! This brief listing of characteristics pretty much summarizes what the ideal Italian giallo should look like and, coincidentally, it also summarizes exactly what "Who Saw Her Die" looks like! This film by Aldo Lado ("Night Train Murders", "Short Nights of the Glass Dolls") is a downright marvelous example of horror's finest sub genre and every admirer of Italian cinema ought to view it! George Lazenby, the one hit James Bond wonder, impressively stars as a successful sculptor who spends time with his daughter Roberta in his beautiful hometown Vienna. In the opening sequence, however, us viewers already witnessed how a serial killer barbarically murdered a little girl in France and young Roberta will inevitably become the next victim. When the poor girl's corpse is found in the city's canals, her father starts an obsessive private investigation to find out who murdered his daughter. As he's getting closer to revealing the killer's identity, more and more key witnesses are found murdered. The given that this movie features a child murderer instead of an ordinary pervert who kills random prostitutes makes "Who Saw Her Die" all the more disturbing and compelling. The cherubic victims are so innocent and harmless that you'll feel nothing but rage and disgust for the killer and this, of course, cleverly increases the viewer's involvement! Franco Serpieri's personal hunt for the killer is convoluted and occasionally confusing, but everything is neatly sorted out in the formidable climax…and the horrid killer gets what he deserves! The city of Vienna is stunningly used, so in case you were mesmerized by the settings in Nicolas Roeg's acclaimed "Don't Look Now", you'll also definitely love the settings here. Lado's multi-talented eye captures it all very stylishly and yet the murders are still fairly gore. Just the way we all like it! And undoubtedly the best aspect about this entire production is Ennio Morricone's totally unique and petrifying music! The main theme – either with lyrics or without – apparently sung by an entire choir of young children, is gripping, ominous and oh so damn CREEPY! 10 well-deserved 'giallo' stars out of 10.
  • Warning: Spoilers
    Successful sculptor Franco Serpiere (a solid performance by 007 oneshot George Lazenby, who looks gaunt and worn) and his adorable daughter Roberta (sweetly played by cute redhead Nicoletta Elmi of "Bay of Blood" and "Deep Red") are spending some quality time together in scenic Venice, Italy. Roberta gets brutally killed by a lethal vicious lunatic. Franco finds himself in considerable danger when he investigates her savage murder. Director Aldo ("Night Train Murders") Lado, who also co-wrote the engrossingly dark and complex script, relates the intricate story at a slow, but steady pace, expertly creating a creepy, edgy, yet elegant tone and staging the murder set pieces with impressively grisly and stylish aplomb. Ennio Morricone's supremely eerie and unnerving score makes especially effective use of a ghostly angelic children's choir. Franco Di Giacomo's beautifully crisp and polished cinematography offers plenty of sumptuously smooth gliding tracking shots and evokes Venice in a strikingly misty, breathtaking and atmospheric way. The uniformly fine acting from a sturdy cast qualifies as another major asset, with especially praiseworthy work by Lazenby, Elmi, Adolfo Celi (the Bond villain in "Thunderball") as friendly art gallery owner Serafian, Anita Strindberg as Franco's concerned estranged wife Elizabeth, and Rosemarie Lindt as Franco's lusty lover Gabriella. Excellent zinger of a shocking surprise twist ending, too.
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