SpuffyWeb
Sadly Over-hyped
Actuakers
One of my all time favorites.
TrueHello
Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.
Scarecrow-88
Recently appointed Homicide detective, Inspector Capuana(Farley Granger)must uncover the identity of a serial killer who preys upon the adulterous bourgeoisie wives of High Society prominent city figures. The "sex maniac"(..he doesn't sexually molest his victims, but murders them because of their whoring ways)leaves photographs at the scene of the crime containing the victim with her lover in the act of passion. The very intelligent killer wears a stocking over his face, fedora hat, coat, black leather gloves, and uses a knife to stab his victims multiple times in a vicious, cold-blooded manner as they seek help, finding no one. Capuana is put in a corner by his superiors because he is not allowed to question the husbands of those killed, yet comes under scrutiny from the press in his difficulty catching the fiend. Paolo Santangeli(Silvano Tranquilli)is a very successful attorney with many affluent clients whose daughter sees the killer murder his lover(..and next door neighbor whose husband, after attempting suicide, is an impotent cripple).Solid casting of Granger adds quality to this ultra-sleazy giallo(..if you're looking for a giallo that doesn't skimp on the nudity, SO SWEET..SO DEAD is just right for you)with a really powerful conclusion(..it concerns Capuana himself and a sad, startling discovery really packs an emotional wallop;equally shocking is Capuana's decision not to help a victim in need). What I found truly amusing was how practically all married women were screwing around with a man behind their husband's back(..although, in Paolo's case, he and his wife, Franca, played by Annabelle Incontrera, both have open affairs with other people). Basically this film features bored, beautiful, glamorous women playing hanky panky while their hubbies are away on business. A minor problem that rather nagged me a bit was the inclusion of a sub-plot that is left unattended..Paolo's daughter, Bettina(Angela Covello)and her boyfriend Piero(Fabrizio Moresco)are featured, with her witnessing the murderer at work, seemingly a major development which will have the girl in mortal terror, only for it to be abandoned later altogether. Some of the most curvy, attractive, gorgeous European women you'll see in a giallo, parade(..without shame)around nude, stripping from their elegant wardrobes, without any inhibitions. Particularly tasty is Nieves Navarro as Lilly(Paolo's lover), Sylva Koscina(..as Capuana's wife), and Krista Nell as Renata(..a victim who attempts to escape up a spiral staircase, soon trapped and stabbed).Chris Avram is Professor Casali, a coroner(..and Capuana's confident)working with the police. Luciano Rossi is Casali's assistant, Gastone, a real weirdo who takes nude photographs of his dead ladies once his work is completed.
The_Void
Released at the height of the Giallo's popularity, So Sweet, So Dead manages to take in most of the common Giallo trademarks and craft a good example of the sub-genre out of it; although it has to be said that the Giallo has been done to far better effect on numerous occasions. It would seem that director Roberto Bianchi Montero was hoping he could implement a style similar to what Dario Argento is famous for, and indeed he has somewhat as the film features a black gloved killer committing some well worked, bloody and stylish murders, although the film unfortunately seems content to revel in it's sleazy atmosphere too much and this can sometimes have a negative effect on the plot. The storyline centres on a vicious killer who enjoys slashing women who are currently engaging in an extra marital affair. Naturally, Inspector Capuana expects the murderer to be among the city's underbelly; but as the murders continue, he starts to get the idea that he may have to look to higher society; and things get worse for him when the killer sets his wife as the next target! There's a fair amount of sex on display, although it's never overly erotic, and since the film doesn't put too much focus on red herrings and the identity of the murderer, it's sometimes unclear as to exactly what the point of the film is. It's quite possible that So Sweet, So Dead was only ever meant to be a cash-in on other, more successful Giallo's, although the attention to detail with regards tributes to other genre films makes it seem that the director has a genuine interest in this style of film-making. Indeed, the film is rather incomprehensible at times; but even when the plot does start to become tiresome, it's good to know that there's an undercurrent of sleaze to fall back on, and while this isn't exactly up there with heavyweight nasty Giallo's the likes of Giallo a Venezia and The New York Ripper, it's more nasty than a lot of it's counterparts. The film benefits from a good cast, which includes experienced Giallo actor Farley Granger and a small role for the popular Susan Scott. Overall, I can't say this is a heavyweight of the genre; but it's certainly worth seeing for the Giallo fan, despite a number of imperfections.
Coventry
This little seen but nonetheless notorious Italian giallo opens with the SECOND-best footage imaginable. A bunch of policemen are standing in the room where the horribly mutilated body of an attractive woman has just been discovered, and this disturbing discovery heralds the search for a sadistic killer. The absolute best horror opening would of course be that we actually witness the killer take the life of his victim but, no worries, as we're treated to that not more than ten minutes later already and several times after that! The maniac at large is exclusively interested in adulterous women with a high-society standing. He stalks them as they secretly meet up with their lovers, patiently waits until they're alone again, then kills them barbarically and leaves behind photographical evidence of their liaisons. Inspector Capuano faces huge difficulties in his investigation, as the prominent husbands of the killed women don't want to see their names mentioned in this scandal. This oddly titled Italian film (actually, NONE of the many titles is completely relevant) can be described best as a straightforward and unscrupulous giallo. The killer fully answers to all the standard characteristics (black gloves, black coat, face covered by a black veil), the gore is graphic & plentiful and every female cast member extendedly shows off her ravishing body before getting slashed. All this should already satisfy pretty much every giallo-fan, but there's more. Good stuff mostly, but bad stuff as well unfortunately.The greatest thing about "So Sweet, So Dead" is unquestionable the whole climax which, regretfully, I can't write about much. Peculiar but surely innovating about this movie is how the revelation of the murderer's identity is totally downgraded by the setting and circumstances of his last killing. The face behind the veil isn't surprising but the whole ending is definitely shocking and highly memorable! The film's negative elements are fairly obvious: the plot and message are very women-unfriendly (although many gialli are…). Only the women are punished for their salacious lifestyles even though their rich husbands & lovers aren't without sin, neither. If I have no defense for this, but to immediately label the entire film as misogynistic is a bit exaggerated in my opinion. The other and more annoying flaws include a lack of plausible red herrings, bad use of soundtrack and wooden acting performances by pretty much the entire cast. You can clearly tell that Roberto Bianchi (father of Mario Bianchi) isn't Italy's finest horror director but he does an overall adequate job. In all honesty, "So Sweet, So Dead" doesn't deserve a rating higher than 6 or maybe 7, but I'm giving it one point extra if only for that end-sequence! Definitely worth looking for if you're a giallo fanatic!
rjstewart
An interesting addition to the Giallo genre. Most commentators have concentrated on the apparent misogyny and gratuitous nudity as well as the unfortunate version with porno inserts (which I haven't seen). I'm not sure about the first criticism and as to the second aspect it's an integral part of Giallo. Why else would most of us sit through badly dubbed plodding dialogue and awful acting except for the occasional glimpse of the unadorned form of Babara Bouchet or Sylvia Koscina? To mind my far more interesting is the political undertone referencing the corruption of the upper classes in 1970s Italy which is in tune with "respectable" movies such as 'Investigation of a Citizen Above Suspicion' and 'Illustrious Corpses'. I wouldn't want to spoil the movie for those haven't seen it, but there are also definite similarities with later efforts such as 'Dressed to Kill' and 'Seven'.In the Giallo catalogue, I'd put this up with 'Don't Torture a Duckling'. Not as flashy as Argento, but it has something. My DVD is I think a video transfer. Maybe time for a proper digital version?
