Directed by:
Sergio MartinoCinematography:
Emilio ForiscotComposer:
Bruno NicolaiCast:
George Hilton, Anita Strindberg, Alberto de Mendoza, Evelyn Stewart, Janine Reynaud, Luigi Pistilli, Lisa Leonardi, Fulvio Mingozzi, Tom Felleghy (more)VOD (1)
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One of the major consequences of Western Europe s post-war Economic Miracle was the proliferation of international travel. Eager to tap into audiences desire to experience the glamour of the jet set lifestyle, the popular filmmakers of the day rushed to make the most of the exotic locales at their disposal. Arguably no other giallo captured this trend as vividly as The Case of the Scorpion s Tail. The film begins in London, where Lisa Baumer (Evelyn Stewart) learns that her husband has died in a freak plane accident. Summoned to Athens to collect his generous life insurance policy, she soon discovers that others besides herself are keen to get their hands on the money and are willing to kill for it. Meanwhile, private detective Peter Lynch (George Hilton) arrives to investigate irregularities in the insurance claim. Teaming up with a beautiful reporter, Cléo Dupont (Anita Strindberg), Lynch resolves to unearth the truth... before he too ends up on the wrong end of the murderer s straight razor. (Arrow Films)
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Reviews (4)
Thanks to Martino I developed a taste for Giallo. Thanks for this one, too! 85%.
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This is a well structured, fast paced Italian Giallo movie with a decent running-time. It is one of the more mild mannered siblings from this genre, but guessing who the murderer was proved challenging up until the very last minute. Sergio Martino simply knows his craft.
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The Italian film The Case of the Scorpion's Tail is everything pleasant you can imagine when it comes to the giallo genre. The film lacks greater explicitness and more openness in some scenes, but it has a very good story, good characters, both written and acted, and the script is definitely worth devoting full attention to. Italian giallo, if you haven't seen it all already, will never get old.
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Yes, it's quite naive at times (a hallmark of early Giallo pieces), but great satisfaction otherwise. Martino cleverly plays with the viewer, the reveal of the bad guy was – at least for me – surprising, there are plenty of murders and they don't need to be spectacularly stylized, the early killing of one of the characters is unexpected just like in Psycho (which is a tribute) and the ending in the bay is also quite suspenseful. It's definitely better than anything from the overrated Argento of the time, whose stupid scripting twists gave me headaches. But I am gradually coming to like the early work of Sergio Martino.
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