Mystery killers with black gloves seem to appear everywhere in films about murder and mayhem; from the shocking violence of Deep Red to the farcical mysteries of A Shot in the Dark. It's recurring motif but tracing the roots of the Giallo body-count mystery genre seems to point to the films of Mario Bava. Here we'll take a look at one of the most striking early examples Blood and Black Lace; aka Six Women for the Murderer. It certainly brings a particular level of Italian style to the proceedings with a garish 1960s colour scheme being mixed with plenty of dark shadows and sinister lighting. So let's put on the leather and get down to business.
In terms of the overall aesthetic there's a whole lot of neon going on here. While Bava has done some great things in monochrome (see the Mask of Satan) the colour is the most noticeable element, and in general this is a visual movie first where the whodunnit comes second. The detective story is less important than how the deaths come about and how they're staged. Of course, this is a tale of clothes and catwalks so there's no excuse not to focus on these elements. There are lots of swooping camera movements showing off the outfits and there are a lot of eerie mannequins. I don't think they're usually painted bright red like this but it creates a heightened reality. In the whole film none of them are ever used to display any clothes.
The camera pushes into the haute couture house as the sign falls down during a storm; a sign of things to come. This is right after a great intro sequence using all of these visual elements and each cast member is shown standing mysteriously next to different props. It's hard to image why at the time it was replaced for English speaking audiences but interfering studio suits saw it necessary to change things up and use something more shocking. The atmosphere is gone and so is the jazzy music which feels jarring and the slow build up is lost. There was no need since the intrigue levels are quickly ramped up after the credits finish.
The story itself concerns various scandals in the world of Italian design and there are plenty of narrative hooks as the fashion models are seen taking drugs and having affairs. Elsewhere various characters are involved in blackmail and other questionable activities behind the stage curtains.With everyone acting so suspiciously it adds a lot of mystery, and as you'd expect things quickly get complicated as the body count rises and various red herrings come and go. One major element is the discovery of a dead girl's diary which soon gets the attention of most of the characters when it threatens to reveal their sordid secrets to the police.
They might have wanted to veer away from the usual detective procedural
elements, but you still get all the usual arrests and line up scenes.
There are questions to be asked and clues to be pored over, so it's good
to see familiar faces like Eva Bartok and Mario Bava regular Cameron Mitchell getting involved. In some ways there's no one main character because of the ensemble, but that gives it more suspense as things escalate. Each of the main girls and their lovers could be next on the chopping block at any moment. They all seem to live in antique filled apartments and fancy homes which adds to the eerie atmosphere; nobody seems above suspicion and nobody is safe.
While the period design and lighting definitely adds to the experience, the same can't be said of the soundtrack as a whole. The constant drum beats do at times lend it a certain amount of personality but in some scenes it's pretty distracting. Luckily this is a minor point and the rest of it holds up pretty well as a fun 1960s artefact instead of feeling dated in a negative sense. It's been mentioned elsewhere that the film as a whole has influenced many later directors and it's easy to see why. So many elements are striking from the fashion house interior to the sinister killer's faceless mask and black outfit.
While it's a film noted for it's inclusion of increased levels sex and violence for the period, it may seem tame by modern standards; particularly in comparison to horror from the decades immediately following this. The fashion models aren't underdressed and most of the kills aren't too shocking. The set pieces are all good but the blood is very much the red paint variety. But it's not always about the amount of gore; the mood and the tension are more important here. The final motive reveals feel a bit like an afterthought, but for a good mix of atmosphere and mystery thrills it's a great example of this kind of story. For fans of this genre during this decade and its later evolution in the 1970s it's an essential.
4/5
