CASE OF THE BLOODY IRIS / (WS DOL) - CASE OF THE BLOODY IRIS / (WS DOL)

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Product Description

When two young women are viciously slain in a luxury high-rise, a beautiful young model (Edwige Fenech of STRIP NUDE FOR YOUR KILLER and HOSTEL: PART II) moves into one of their vacated apartments - and soon finds that she is now being stalked by the mysterious killer! The suspects include her ex-husband (a member of a group sex cult), a predatory lesbian neighbor, the deformed son of a sinister widow, and even the building's handsome architect (George Hilton of THE KILLER MUST KILL AGAIN) who suffers from a paralyzing fear of blood. Can she expose the masked maniac with a taste for luscious women and depraved murder before she becomes his next victim?

Directed by Giuliano Carnimeo (under the pseudonym Anthony Ascott) and written by Ernesto Gastaldi (screenwriter of such notorious thrillers as TORSO and THE WHIP AND THE BODY), this shocking giallo is also known as EROTIC BLUE and WHAT ARE THOSE STRANGE DROPS OF BLOOD DOING ON JENNIFER'S BODY?

• Actors: Edwige Fenech, George Hilton, Annabella Incontrera, Georges Rigaud, Giampiero Albertini
• Director: Giuliano Carmineo
• Director: Anthony Ascott
• Aspect Ratio: 2.35:1
• Audience Rating: Unrated
• Format: Color, Widescreen, NTSC, Anamorphic
• Language (Original Language): English
• Region Code: 0
• Release Date: 2008-02-26
• Running Time: 95 minutes
• Theatrical Release Date: 1972

Customer Reviews

Reviewed on 2008-04-11 Good, but could have been much better "The Case of the Bloody Iris" is an Italian Giallo, a type of film often considered the ancestor of modern slasher films -- but with more style. One can expect: serial murders of beautiful women, a psychopath, nudity, "sexual situations", a police investigation (often ineffective) and lots of blood, along with stylish photography and distinctive music. In other words, salacious good fun. Edwige Fenech plays Jennifer, a photographer's model who moves into an apartment where the former tenant had recently been murdered by drowning her in the bathtub. Though a second woman was brutally murdered in the building's elevator shortly before they moved in, neither Jennifer nor her ditzy roommate seem overly-concerned about two murders in and around their new apartment. There are plenty of suspects: a strange elderly woman who buys stacks of crime magazines, a lesbian neighbor and her sad, violin-playing father, a gay photographer who employed the drowning victim, the building's architect who has a phobia about blood, Jennifer's menacing former husband, plus a few others who pop up along the way. Jennifer first meets handsome architect Andrea Barto (George Hilton) at the photographer's studio, their eyes meeting suggestively. Andrea arranges for the girls to move into the murder apartment, and soon begins an affair with Jennifer. The police inspector assigned to the murders is a world-weary stamp collector, with an almost useless assistant. There is an amusing running joke about the assistant being recognized by passers-by while tailing suspects. The police investigation is very weak; the police turn up no clues to the killer's identity, only more suspects. In fact, the killer is found out only because one of the victims manages to call for help in time. My main criticism of the film is that no one takes what happens seriously. The roommate plays a practical joke on Jennifer by pretending to drown in the bathtub, then later refuses to believe Jennifer when she says she saw a shadowy man standing over her bed. When Andrea is threatened at knife point by Jennifer's former husband, he simply starts his car and drives off -- without even mentioning it to the police. Indeed, both Jennifer and Andrea have more interest in romance than concern over the possibility being murdered! There is some nudity, but relatively little by modern standards: a few brief topless scenes, some costumes that might as well be topless, and a nude love scene. Nothing really salacious by today's standards, but no doubt more so in the 70s when the film was made. Reviewers of Edwige Fenech's films often mention her beauty. She is gorgeous! But make no mistake, Fenech is also a capable and talented actress who usually gives a solid and convincing performance. I strongly recommend her outrageous Italian farce "Giovannona Long-Thigh", or Mario Bava's black comedy "Five Dolls for an August Moon" for sampling more of her talent. This film is enjoyable, but not one to watch over and over. It has all the right parts, but the parts do not fit together quite as well as they should. A stronger directer could have made a better film.

Reviewed on 2008-04-10 DeMented Imagine, if you will, an episode of Murder She Wrote with added nipples. That pretty much describes The Case of the Bloody Iris (as in flower). The characters are paper thin and the actors (genre stalwarts most of them) appear to have been bought-in wholesale from the MFI school of acting. On her way to a secret assignation with a mysterious someone, a young woman is murdered in the lift of an apartment complex by an assailant with a black leather fetish. Soon after, another woman is killed in an apartment in the same building, which is then occupied by model Jennifer (Edwige Fenech) and her model chum ... and then the screaming/howling starts depending on your point of view. The plot is negligible really and serves as little more than brief respite between scenes in which Fenech has her blouse ripped off. The attitudes on display toward race, sexuality and gender very much tick that box marked "of their time". In fact, if ever assistance were needed in bringing to bear the charge of misogyny often levelled at the much-maligned Italian Thriller genre, the prosecution need look no further than the scene in which Fenech, confronted by her estranged ex-husband in her apartment, is knocked to the floor then told "You're an object and you're mine!". Before having her blouse ripped off. The killings themselves are actually quite inventive, with the opening lift scenario and a later one which occurs in bright daylight in a crowded shopping arcade particularly audacious, but the handling is very much by-the-numbers and they are too quickly out of the way. In more assured hands (De Palma's say) they could have been the film's saving grace. Overall there is a distinct lack of tension, no real sense of danger and little that surprises. The identity of the killer is easily deduced by default as there are only three possibles and one of those is despatched half way in. Poor old Fenech (who could give lessons in eye-acting) spends most of her hard-earned running around and falling over like a Dr Who assistant on crack, and you'll probably while away most of the film noticing how much she resembles an attractive Martine McCutcheon. The film also loses points for bringing us, in the shape of Jennifer's bubble-headed roommate and the wholly unfunny ineptitude of the junior police officer, two of the most irritating characters in the genre. On the plus side it has a terrific signature theme - like a Saint Etienne instrumental co-written with John Barry. The transfer from Blue Underground is as adequate as we've come to expect - serviceably sharp and the colours are bright enough, though there is one scene when Jennifer is leaving her apartment at night where it looks like she's walking through a cloud of bluebottles. The American dubbing is appaaaaalling, though a few doozies have emerged during translation, not least of which is the moment Jennifer, in defence of her lover (the dapper George Hilton), throws herself on the mercy of the caveman leading the investigation with a plea of "No, I'm sure he's not mental!". There's also a great moment where she receives a faceful of vitriol from an elderly neighbour who sets a record for the number of times the word "whore" can be used without pausing for breath. If you've only experienced the high end of the giallo genre (Blood and Black Lace, The Bird with the Crystal Plumage, What Have You Done to Solange?) then this one is probably not for you. Because it's silly. In all fairness, it had no aspirations to be anything but. Coming from the frenzied height of the giallo era in Italy it wears its production-line credentials loudly. If you're into this particular sub-genre of the sub-genre or simply looking for something to guffaw over post-pub while you count the cost of that last kebab, this is trash of the highest order (though there's more gore to be had in an average episode of Bones and is only titillating in the way some might find a Benny Hill sketch titillating). As its appeal is limited to a certain corner of fandom it makes rating this sort of thing a bit tricky. In all good conscience I suppose I'll have to base it on whether I'm ever likely to voluntarily watch it again without first troubling the local kebab house. Great cover anyway.

Reviewed on 2008-04-03 I would suggest this movie i think that this movie is very well written and directed. luci fuchi

Reviewed on 2008-03-20 Entertaining High Rise Giallo Beautiful women, gruesome murders, mistaken identity, and a great musical score make "The Case of the Bloody Iris" an entertaining giallo. Gorgeous women - all of which are engaged in amoral occupations (prostitution, nude wrestling, and nude modeling) - are being murdered in a luxurious high rise apartment building. Jennifer (Edwige Fenech of Mario Bava's "Five Dolls for an August Moon") and her co-worker/friend move into an high rise apartment that was recently occupied by the last victim of the serial killer. She is being stalked by her estranged husband who leaves behind torn irises to remind her he was there. Furthermore, all of her strange neighbors are connected with the murders. "The Case of the Bloody Iris" has a "Psycho"-like stabbing in an elevator; this scene was later imitated in Brian De Palma's "Dressed to Kill." The killer, with his/her black mask and coat, resembles the maniac who is murdering models in Mario Bava's "Blood and Black Lace." ("Blood and Black Lace" is considered to be the granddaddy of Italian gialli.) Also, the staircase in the high rise building and the killer's demise reminded me of Dario Argento's "Cat O' Nine Tails" which is another great giallo. Overall, "The Case of the Bloody Iris" was unique. At least the killer wasn't a priest like in so many other gialli I've recently seen. If I see another giallo where the killer is a priest, I'm going to scream!!!

Reviewed on 2008-03-06 Standard, but excellent Giallo Most cite the 60s as when the first Giallo film was made and in the 70s these films reached their peek and would continue to go on before fading away around the mid 80s. But the 70s it seemed like every film out of Italy was a Giallo, while some suffered from being the same as all the others some filmmakers were able to offer a twist. The Case of the Bloody Iris is pretty much the standard Giallo of the time, but works well and is one of the better ones of an era dominated by them. In many ways I suppose the Giallos can sort of be seen as the Italian slasher movies. If you watch slasher flicks you can see the influence the Giallo had on them. Slasher films are sort of the poor mans Giallo, but the thing is like the slasher you've seen one you've seen them all and that does apply to Giallos a lot of the times. The murder scenes are kinda hard to mess up. Hot women being chased by a psycho killer pretty much sells itself, but the investigation scenes if they aren't good than the Giallo won't be any good. The screenplay was written by Ernesto Gastaldi who is no stranger to the Giallo; he wrote many of the more popular ones in the 70s most notable writing for Sergio Martino. The script at times sure can be a bit silly, but it works well overall with mostly interesting characters and the mystery aspect is actually solid. Normally by the middle of the movie you can figure out who the killer is, but I actually didn't figure it out. While it wasn't a huge surprise it did get by me. Director Giuliano Carnimeo going under the name Anthony Ascott does a solid job at keeping the pace moving along and there's no shortage of suspects and nudity. The murder scenes are done well with some pretty good suspense and tension and the investigation scenes are handled well and never lag. There is always something happening here to keep it from getting slow. Either we get a murder or stalk scene or we get some nudity. The Case of the Bloody Iris moves at a very good pace and like I said there is always something happening to hold the viewers interest. The Case of the Bloody Iris in my opinion is a very strong Giallo that doesn't get the attention it deserves. While this is pretty much the standard Giallo of the time everything works rather well. One of the problems with these movies sometimes is there are so many characters who are just there to be suspects things get very messy, but here that doesn't happen. I wasn't sure what to expect out of this, but it was a lot better than I thought it would be. The cast is solid led by the amazingly stunning Edwige Fenech as Jennifer. I haven't seen a lot of her work, but what I've seen I have liked. You'll be hard pressed to find a woman more beautiful than Edwige who I think might be the most beautiful woman I have ever seen. If you are a fan of Edwige this is essential viewing. George Hilton also stars as Andrea Barto and like Fenech I haven't seen a whole lot of his work, but what I've seen I have liked. The two previously worked together in The Strange Vice of Mrs. Wardh, which was produced by Luciano Martino who also produced The Case of the Bloody Iris. Overall The Case of the Bloody Iris is an excellent Giallo in my opinion; there is some good suspense and nudity and the mystery angle works well. While not a perfect movie it's highly enjoyable; I think fans of the Giallo and Edwige Fenech should enjoy.

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