The Fifth Cord
Alternative Titles: Giornata nera per l'ariete; El dia negro; Ein schwarzer Tag fuer den Widder; Evil Fingers; Silent Killer
Director: Luigi Bazzoni
Year: 1971
Starring: Franco Nero, Silvia Monti, Wolfgang Preiss, Edmund Purdom, Rossella Falk, Renato Romano.
Context:
Adapted from the novel of the same name by D.M. Devine, THE FIFTH CORD was released into a scene that Dario Argento had just shaken up a year earlier with THE BIRD WITH THE CRYSTAL PLUMAGE, on which cinematographer Vittorio Storaro also worked. Interestingly in the same year this was released Storano had also worked on Bertolucci's critically acclaimed THE CONFORMIST, and elements of that films core themes can be felt in this, albeit in a much more subtle and underplayed way.
Literally translated the Italian title means 'Black day for the ram' and this is likely to be more for commercial reasons than creative in light of the slew of films that were released in the wake of Argento's 'THE BIRD WITH THE CRYSTAL PLUMAGE' where an animal reference in a film's title would alert the audience as to what they could expect.
The film features the, by then, established star, Franco Nero (DJANGO, HIGH CRIME) as well as a supporting cast who had featured in several gialli among them including Ira Fuestenberg (FIVE DOLLS FOR AN AUGUST MOON), Sivia Monti (A LIZARD IN A WOMAN'S SKIN), Renato Romano (THE BIRD WITH THE CRYSTAL PLUMAGE), WOLFGANG PREISS (THE BLOODSTAINED BUTTERFLY) and of course (almost) genre regular Rossella Falk (BLACK BELLY OF THE TARANTULA, SEVEN BLOODSTAINED ORCHIDS, SLEEPLESS) although her role in this is quite minimal.
Director Luigi Bazzoni would go on to helm one more giallo, the strange 1975 film FOOTPRINTS ON THE MOON, aka Le Orme, which although classed as a giallo in many sources does not really display the hallmarks of one.
In GIORNATE NERE, the extra on the Blue Underground DVD release, Nero would reveal that he would shoot THE FIFTH CORD Monday to Friday and then fly to England for the weekend to work on the drama POPE JOAN (1972) before flying back again in time to resume his role as Andrea Bild on Monday morning.
Meanwhile in the same extra feature, Storaro would admit that Bazzoni was not initially enthused about the project but it was the 'internal psychological implications' that eventually drew him in. This would make sense as the film has a slightly different focus in its storytelling and indeed visuals, than its peers.
Synopsis:
“I am going to commit murder,” intones the faceless killer. “I can imagine the thrill and pleasure I will experience as I stalk my victim. There must be no mistakes!” But when four trendy socialites are brutally murdered, an alcoholic reporter (a terrific performance by Franco Nero) begins to unravel a twisted trail of clues. Can this desperate journalist stop a depraved psychopath before he himself becomes the fifth victim?
[Taken from the Blue Underground press release]
Review:
Despite a slightly misguided start featuring a voiceover of the (soon to be) killer deliberating their murderous intent we soon find ourselves celebrating the New Year with the majority of the cast...or should that be suspects and victims. We also get a glimpse of the many shots of clichéd alcoholic journalist Andrea Bild (NERO) having the first of many drinks.
After the party and bit of tension which manifests itself in only the way a jealous look between a scorned lover and their desired could, the rejected man strolls home alone past a young amorous couple and into a dark tunnel, which as a side note is beautifully shot. It is here that he becomes the victim of a brutal attempted mugging which makes the news.
Bazzoni dedicates a significant amount of time to these events as he develops character, notably that of journalist Bild, while also framing the context for the remainder of the movie. Some viewers however may find this portion of the film a bit slow and also a tiny bit confusing as the characters relationships to each other aren't necessarily clear, and while some ambiguity is needed to maintain the mystery it can feel at points that something is missing and the inclusion of some form of exposition may have benefitted the film.
Despite this as the film progresses and the murders start to finally happen, the viewer becomes wrapped up in a delightful web of intrigue and deceit thanks to Bazzoni who seems to point suspicion on the ever deteriorating mental state of Bild, with the journalist always too drunk to remember where he was at the time of the initial crimes.
While much of the film is clichéd the use of black gloves is anything but as the killer does not necessarily wear them, instead opting for the genres second option - rubber surgical gloves, but rather uses them to taunt the police, leaving a glove with one finger removed for each victim. Although the reasoning behind the murders was a little hackneyed for my liking but does tie in with the genres conventions.
It is on this point that we are led to what really separates' THE FIFTH CORD from its contemporaries, Bazzoni is seemingly more interested in the psychological state of his troubled anti-hero than the murders themselves which almost falls into the background until the finale. As Bild's obsession collides with his addiction he starts to become paranoid at work, feeling persecuted for his "crazy non-conformist ideas" and is soon taken off the story by his editor. Although just like the cop who is taken off a case, this does not put him off and the stakes rise until a frantic final chase scene.
Nero plays the role brilliantly in his portrayal of this complex man eliciting both pity, anger and of course hope from the viewer. For essentially Bild is a violent, bullying alcoholic but one that also represents truth, justice and individualism, a personification of many of the themes that would be covered in the more politically charged films of the time coming out of Italy, and surely influenced if even subtly by the work of Bertolucci et al.
"When I drink I forget a lot of things...it makes life much easier"
Andrea Bild (Nero)
If Nero receives special praise then so should the work of Storano for the cinematography which not only stands out for the genre but on any cinematic level, and also a special mention to genre legend Ennio Morricone (INVESTIGATION OF A CITIZEN ABOVE SUSPICION) for his apt score which flitters between tense and jazzy but never overpowers the scene but rather complements it and all three of these masters combine to provide Bazzoni with arguably the highlight of the film, its climatic showdown set in an abandoned building which is both exhilarating and tense thanks to the strength of the shots and editing. Although Morricone would perform a stronger if very similar score for THE BLACK BELLY OF THE TARANTULA in the same year.
However not everything works in this film as the pacing is as uneven as Bild's mental state, and a couple of scenes fall flat despite their good intentions. Bazzoni is merely a competent director working with experts who raise the level of his output.
THE FIFTH CORD is of course worth a watch for any genre fan, it is beautifully shot and features not only a few strong set pieces but also a decent story once you get underneath it but what really makes it stand out is the psychological journey you go through with Nero's character, and as stated it is this focus that separates the film from the crowd.
Version Reviewed:
We watched the region-free 2006 Blue Underground release which is a solid transfer, both sharp and clear, which allows for Storaro's beautiful cinematography to savoured while the dubbing is well done particularly compared to some other releases of films from that period.
The release has English audio only and one extra, the 16 minute feature 'GIORNATE NERE' (BLACK DAYS) which features interviews with star Franco Nero and acclaimed cinematographer Vittorio Storaro and is an insightful but brief watch.
