Massimo Dallamano made the great Bandidos and the also great What Have You Done To You Daughters, but here takes things a bit too laid back and therefore we end up with an okay giallo that could have used a nice kick in the arse plot wise.
It's still interesting enough, mind you. You have a detective (the almost immortal John Mills) who is investigating a series of knife murders in Hamburg (this is where the black gloved killer comes in and this isn't the last giallo set in Hamburg either). The problem is, the detective has this young, hot, young, hot, sexy, young, mysterious, hot, young, tepid, young, hot, young wife who had possible links to a criminal past but the detective's totally over that and he's only phoning her a hundred times a day to see if she needs milk, right?
So we move from the giallo that has the 'who is the gloved killer?' plot to that other kind of giallo - the kind where you have no idea what everyone is up to until the last ten minutes. Most of the time those turn out to be the more entertaining giallo but we have just a bit too much in the old dialogue stakes here and less on the actual action.
Still, Dallamano's skills as a cinematographer shine through nice and bright, but for some reason the sleaze that sticks to his other films is missing here. It's still worth tracking down but isn't any lost classic or anything.
It's still interesting enough, mind you. You have a detective (the almost immortal John Mills) who is investigating a series of knife murders in Hamburg (this is where the black gloved killer comes in and this isn't the last giallo set in Hamburg either). The problem is, the detective has this young, hot, young, hot, sexy, young, mysterious, hot, young, tepid, young, hot, young wife who had possible links to a criminal past but the detective's totally over that and he's only phoning her a hundred times a day to see if she needs milk, right?
So we move from the giallo that has the 'who is the gloved killer?' plot to that other kind of giallo - the kind where you have no idea what everyone is up to until the last ten minutes. Most of the time those turn out to be the more entertaining giallo but we have just a bit too much in the old dialogue stakes here and less on the actual action.
Still, Dallamano's skills as a cinematographer shine through nice and bright, but for some reason the sleaze that sticks to his other films is missing here. It's still worth tracking down but isn't any lost classic or anything.