The Girl Who Knew Too Much (1963)

Very very predictable, including the post credit scene !!!

What makes it different from others?

I like Black Panther, but I didn't like this movie.

This is a gorgeous movie made by a gorgeous spirit.

Much feted as the prototype giallo, if not the first of the genre, this is certainly a striking and then original piece of work. Viewed today, it almost appears as an homage or satire of gialli, as so many of the tropes that those who love the films will recognise are present here. The opening is stunning, never mind a death during a thunderstorm before we are even into the story, there is a fantastic and very creepy, wonderfully lit sequence on the famous Spanish Steps in Rome. Dark shadows, light reflected in pools - of blood or water - and we are away. Half naked girl strewn across the path and a knife in and out a body which is then unceremoniously dragged away. The film is uneven and although the lovely Leticia Roman and (a very young) John Saxon do well there are short periods when all is not quite so great. Plenty more brilliantly lit and varied scenes to come though before the surprising denouement. Thank you Mario Bava, maybe not the greatest giallo but you opened the door.

'Giallo' initially found its roots in the German 'Krimi.' These were adaptations of British writer Edgar Wallace mystery and crime stories, made specifically for the German market between 1959 and 1972. 'Giallo' were more baroque in style and notable for extended murder sequences, stylish camera work, and Grand Guignol style drama. Full of madness, alienation and paranoia; atmosphere is everything and character development, acting, and strong pacing are immaterial. Unlike the American horror / stalker / slasher / final-girl films, the killer is rarely male or suffers from gender confusion that places him in the feminine position; Argento's The Bird With The Crystal Plumage (1970) is an example, as is Fulci's A Lizard In A Woman's Skin (1971). Almost as a convention, 'Giallo' titles frequently feature animals or numbers, such as Fulci's Don't Torture a Duckling (1972), or Umberto Lenzi's Seven Blood Stained Orchids (1972). Mario Bava's "The Girl Who Knew Too Much" (1963) is considered the first 'Giallo' film. A cinematographer who received his first chance to direct finishing Riccardo Freda's 1956 I Vampiri (which is considered the first Italian horror film), Bava then handled cinematography and special effects on Hercules (1957) kick starting the sword and sandal genre. He shot The Day The Sky Exploded (1958), which is the first Italian sci-fi film, with a large German 'Krimi' cast. He then had a chance to shoot and finish directing another Freda film, Caltiki – The Immortal Monster (1959), a genre favourite. It is remarkable to watch Planet Of The Vampires (1965) and then take a moment to think about whether Alien (1979), could exist without it (answer? It couldn't). Bay Of Blood / Twitch Of The Death Nerve (1971) was hugely influential in regards the American 'slasher'/'body count' genre. The Girl Who Knew Too Much establishes what will become one of the critical conventions of 'Giallo,' that of an outsider or foreigner who witnesses a murder and investigates the crime. Trouble comes when warnings not to get involved are ignored. 'The Girl…' is more restrained than any of Bava's later 'Giallo,' in which he would develop a baroque and garish use of colour. Filmed in black and white that connects it to film-noir (the literary-pulp origins of 'Giallo'), and Hitchcock's influential Psycho (1960, and the title refers to Hitchcock's 1934 and 1956 The Man Who Knew Too Much), Bava mixed in the conventions of the thriller, film noir and horror creating 'Giallo.'Check it out!

"The Girl Who Knew Too Much" marks two moments in Bava's career in filmmaking: it is both his last film in black and white and first film that will further refine the giallo genre.It is easy story about American girl (Nora) visiting old family friend Edith who lives in Rome, Italy. Right after her arrival, Edith dies and she went through series of unfortunate events; first she's been victim of purse theft (thief left her unconscious on the ground) and right after (when she wakes up) she witnessed murder of a woman. That scene was created with the use of water glass effect, thus leaving us no authentic feeling if murder occurred as a product of Nora's hallucination/delusion. It is interesting that weapon used for murder is knife, which is also the title of the novel she was reading on the plane at the very beginning of the film.From the moment I started watching film, I was amazed with lighting and camera angles: those elements are stunning; it's obvious that whole film is masterfully crafted. Even though it is obvious that film follows/incorporates Hitchcockian elements/patterns, I still find it very invigorating and fresh. The reason behind that is refreshing aesthetics; Bava for sure succeeded to maximally utilize surrounding of filming locations in Rome, playing successfully with lighting, music and exemplifying grandeur of neoclassical architecture of Rome.What is really fascinating is Bava's lucidity and wit. The film exudes a very specific humor (voice narration in the first scene, and in many other, is pure comedy) suggesting, from time to time, that whole plot may be a dream and adding a frivolous touch to many "dramatic" events. It's quality I've never "recognized" in Hitchcock's movies.

A tourist (Letícia Román) witnesses a murder and finds herself caught up in a series of bloody killings.Not only was this Mario Bava's final film before switching to color, but it is widely considered a seminal work in the giallo subgenre. Indeed, it is certainly film noir with an Italian flavor. Bava gets more out of black and white than most directors are able to get from color -- the use of shadow and light is exquisite.Oddly, Bava said he "thought (the film) was too preposterous. Perhaps it could have worked with James Stewart and Kim Novak, whereas I had... oh, well, I can't even remember their names." Dude, you had John Saxon. Sure, you did not have Stewart and Novak, but you also are not Hitchcock. You are one of the greatest Italian directors of all time!