There is a disturbing obsession with gored animals in 'Knife of Ice'. For all my viewing of horror and giallo films, I have become somewhat immune to the shrieking and howling of human stock, but animals - especially when real footage is concerned as in the bullfighting scenes in the opening credits - is genuinely upsetting.
Carroll Baker plays Martha Caldwell, struck dumb as a child as a result of witnessing the death of her parents. An appealing character, she becomes an ongoing victim in an unsettling string of murders, seemingly at the hands of a man with strangely piercing eyes (a recurring theme films of this genre). Cute as a button, gesticulating throughout in her lovely chunky sweater, she has a vulnerability that makes you hope, really hope, that she doesn't come to harm. She's like a giallo Doris Day.
The final revelation is a wonderful surprise. Director and co-writer Umberto Lenzi expertly handles the lead-up and yet sprinkles the running time with clues as to the truth - it is subtle, but definitely there. A distinct lack of sex and gore doesn't detract from how effectively the story is handled: you are given no firm handle on what is happening, what with red herrings and enjoyable wrong-footing for the viewer. And, just for the record, Marcello Giombini's opening theme music is among the best I have heard in this genre, and that's some feat. I just wish it was available to buy.
Carroll Baker plays Martha Caldwell, struck dumb as a child as a result of witnessing the death of her parents. An appealing character, she becomes an ongoing victim in an unsettling string of murders, seemingly at the hands of a man with strangely piercing eyes (a recurring theme films of this genre). Cute as a button, gesticulating throughout in her lovely chunky sweater, she has a vulnerability that makes you hope, really hope, that she doesn't come to harm. She's like a giallo Doris Day.
The final revelation is a wonderful surprise. Director and co-writer Umberto Lenzi expertly handles the lead-up and yet sprinkles the running time with clues as to the truth - it is subtle, but definitely there. A distinct lack of sex and gore doesn't detract from how effectively the story is handled: you are given no firm handle on what is happening, what with red herrings and enjoyable wrong-footing for the viewer. And, just for the record, Marcello Giombini's opening theme music is among the best I have heard in this genre, and that's some feat. I just wish it was available to buy.