The Girl Who Knew Too Much
Alternative Titles: The Evil Eye; La Ragazza Che Sapeva Troppo; The Evil in the Eye; La Fille qui en savait trop; La muchacha que sabia demasiado.
Director: Mario Bava
Year: 1963
Starring: Leticia Roman, John Saxon, Valentina Cortese, Dante Di Paolo
Context:
Recognised as the first giallo film, as we would recognise the genre, this entry helped establish the blueprint which would later be more defined by Bava's second full giallo BLOOD AND BLACK LACE (1964) and of course the contributions of Dario Argento beginning with THE BIRD WITH THE CRYSTAL PLUMAGE (1970). As such THE GIRL WHO KNEW TOO MUCH therefore obviously has its influences elsewhere such as Hitchcock, even the original title is a send up of his THE MAN WHO KNEW TOO MUCH (1956) as well as the trend in the forties for paranoid women thrillers and of course most importantly the actually giallo mystery books themselves.
The concept of THE GIRL WHO KNEW TOO MUCH actually began life as a romantic comedy until Bava became attached to the project and stamped his own influence on to it by adding a darker, more sinister tone. The reason behind this tonal shift was simple, a murder mystery would appeal much more to a broader audience than the generic romantic comedy. Rumours indicate that Bava was suffering from mental exhaustion at the time are rife but also contested by some however it would not be a stretch to suggest that whatever the situation some of these issues may have shown up in the changes that Bava had instigated.
At this point in his career Bava was an acclaimed cinematographer and had more than a handful of directorial credits under his belt including the now critically acclaimed gothic horror BLACK SUNDAY (1960) aka THE MASK OF SATAN but it would be fair to say that like many of his contemporaries he was in danger of becoming a journeyman as he took in documentaries, peplum, drama, fantasy as well as horror before finding his niche within this sub-genre.
This film also saw the Italian debut of John Saxon (ENTER THE DRAGON, A NIGHTMARE ON ELM STREET, TENEBRAE) an American-Italian actor who had recently been released from his stock contract with big name player Universal. Although a year previously Saxon had starred in the Swedish produced film AGOSTINO (1962) with an almost all Italian cast and crew. Saxon would go on to further star in many Italian produced films across multiple genres and although he originally thought he was going to Italy to be in an artistic movie he admits that upon reading the script for the first time he thought that it would end up being a simple send up of the giallo stories popular at the time.
Saxon's involvement came about thanks to co-lead Leticia Roman who was the daughter of one of Bava's favourite costume designers. Roman would not have a long career and aside from the Elvis Presley film G.I. BLUES (1960), this would be all that she is remembered for which is a shame as she proves more than capable of the leading lady role.
THE GIRL WHO KNEW TOO MUCH is not a giallo per se but introduces many of the tropes of the genre, essentially acting as the bridge between the novels of the same name and what the genre would become including amateur detectives, the 'fish out of water' situation while hinting at the jet set lifestyle.
In THE EVIL EYE version of the film look out for Bava's comical cameo.
Synopsis:
An American tourist in Rome witnesses a murder and finds herself caught up in the violent murders of the Alphabet Killer.
Review:
Beginning with a shot of plane in mid-air set to the song Furore by Italian sensation Adriano Celentano (that would be repeated a few times and also used by Cattet and Forzani in AMER (2009)), an extremely blunt implication of a jet set lifestyle, something back in the sixties this would have most likely given an exotic feel. On the plane, heading for Rome, we are introduced to American Nora Davis (Roman) who we see reading a giallo, a nice little genre-referential touch by Bava, and one which also has the benefit of framing the film within the genre while nodding at what is to come. While the interest in these mysterious to the character of Nora would prove more prevalent as the film continues.
Offered a cigarette by the passenger next to her, we really are reminded that things were different back then, and we thinking nothing more of this despite her initial protestations. It is not until the two are stood in the queue for customs when the unnamed passenger is arrested for smuggling in marijuana laced cigarettes (a plot line dropped in THE EVIL EYE) that Bava's intentions are subtly shown, do we take everything that will happen to Nora at face value or should we be suspicious of everyone and her interpretations of everything.
We learn that her reason for visiting the Eternal City is to see her dying Aunt, however on the day that she arrives the aunt dies leaving her alone in this beautiful yet strange city. We are also introduced to Dr Marcello Bassi (Saxon) and immediately the romantic comedy elements come into play with the now, standard clashing of heads. Saxon's performance throughout is exceptional as he displays a real talent for both the romantic and (physical) comedy demands of the role and he really is a joy to watch. This romantic pairing dynamic would loosely be incorporated by Argento in extended versions of DEEP RED between Hemmings and Nicolodi with mixed results.
Overcome with the grief of her Aunts passing and with a little terror thown in, Nora flees the house heading down the Spanish steps where she is subsequently mugged and knocked to the ground. Here the scenes featuring the Steps show Bava's eye for a shot, as he manages to make the beautiful and often packed location appear imposing, dark and almost gothic in the night time mist. Coming to and hearing a woman's scream, Nora see's a woman stumble into the deserted piazza area, falling with a knife in her back.
It is here where Bava seemingly takes a decision that would now baffle or rather surprise some newer genre fans, showing us the face of the man who follows the victim as he pulls the knife out of the woman's back and throws it away. Although this action actually heightens the intrigue as we are given pieces of the puzzle but not the whole picture. Nora passes out and when she comes to and reports the crime her memory, and indeed sanity is called into doubt but rather than give up and go home her proclivity for mysteries drives her to investigate despite the initial doubts of Marcello.
The film blends tourism, romance, comedy and tension almost perfectly as the story smartly leaves breadcrumbs leading us deeper into the mystery with almost every scene serving a purpose to drive the story forwards. The inclusion of a voice over is quite novel and helps with not only exposition but also the feeling that you are discovering a giallo paperback story itself. Differing from many other genre films due to the strong, developed characters - perhaps this is due to being more plot based than many of its successors - THE GIRL WHO KNEW TOO MUCH draws the viewer in as a result and engaged the whole way through and with an almost international appeal, almost the opposite of the purpose of the genre during seventies which would lead it to being dubbed vernacular cinema by Koven characterised by the cinema going habits of the Italians as a social rather than cinematic event.
Beautifully shot and beautiful to look at, not hard considering some of the landmarks of Rome that were used, THE GIRL WHO KNEW TOO MUCH is a mandatory watch for all those interested in the genre and lays down many of the foundations for what would later come in the genre.
However, one area where the film falls down because of the blending of genres is in the feeling of terror, while certain scenes display an element of tension we never really feel that our heroine Nora is in any real danger and it is this difference from later films where there is always that possibility, diminishes the terror factor that the genre really needs to thrive. This is exemplified by the recent fantastic release by Arrow Video in the UK that saw the film gain a 12 certificate.
Ultimately Bava's final black and white film is a watershed moment in both Italian cinema and the genre. While lacking the violence, set pieces and convoluted plots that would later typify the giallo it is a beautifully crafted and shot piece of cinema that still holds up today and possess a certain charm that is both accessible and niche.
Version Reviewed:
We watched the 2014 Arrow Video (UK) Blu-Ray/DVD combo release which we think is a mandatory purchase for all fans of the genre. The package features not only The Girl Who Knew Too Much - original Italian version but also the re-edited and re-scored US version under the title The Evil Eye as well as a whole host of extras including an introduction by Alan Jone, a reflection on the film by Luigi Cozzi (THE KILLER MUST KILL AGAIN), Richard Stanley (DUST DEVIL), Mikel Koven (Author- La Dolce Morte) and Alan Jones again. Additionally you also recieve a booklet on the film featuring new writing by Kier-La Janiesse.