Incannerax What a waste of my time!!!

Titreenp SERIOUSLY. This is what the crap Hollywood still puts out?

ChicRawIdol A brilliant film that helped define a genre

Twilightfa Watch something else. There are very few redeeming qualities to this film.

Nigel P George Lazenby, in one of his first acting jobs since his solo stint as James Bond in 1969, here looks about ten years older, a lot thinner and less well-groomed. He is excellent as Franco, father to a little sweetheart called Roberta who is murdered. Lazenby has to share the spotlight with the sumptuously filmed streets of Venice, where most of the film is set, and Ennio Morricone's relentless and sinister chanting soundtrack. The detailed, ornate architecture and glistening misty streets (also used to such good effect in 'Don't Look Now (1973)' and 1989's 'Vampires in Venice') make this one of the most atmospheric of giallo films. The cast of eccentric characters also add to the sense of heightened reality.As a heterosexual male, I must point out Anita Strindberg (as Elizabeth Serpieri) and especially Dominique Boschero (as Genevra Storelli) as being stunning additions to the cast. It's difficult to express an opinion on physical appreciation in what is in many ways an exploitation film without being seen to condone such exploitation. I would argue (at tedious length) that exploitation has existed for some time in virtually every film – especially mainstream, where anyone under the age of, what, 40 is invited to at least partially undress without unduly bothering any plot-line. Whether or not the approach to displays of flesh differs 'now', as opposed to 'then', is probably subject for a discussion elsewhere. In 'Who Saw Her Die', amongst other films, I like it.This isn't flawless – as often happens with giallo films, the pace slackens in the middle, but Lazenby's increasing desperation keeps things ticking along. The unmasking towards the end and the reveal of the mysterious killer's identity is satisfying. Recommended.

Rindiana Released a year before Roeg's great Venetian mystery drama "Don't Look Now", this - thanks to the fine location work - stylish and good-looking giallo is otherwise vastly inferior to its counterpart despite their narrative similarities.The attempts at suspense and thrills are ridiculous, the character motivation is idiotic beyond belief, the suspects are just a bunch of comic freaks, Morricone's score becomes grating after a while and the denouement is obvious from the get-go.Though polished and featuring a comparatively prominent cast - with Lazenby looking particularly unhappy -, this crude and tasteless genre offering is even worse than some less known gialli.2 out of 10 unveiled killers

Perception_de_Ambiguity 'Who Saw Her Die?' was the most unpleasant movie watching experience that I had in quite a while. Frankly, I think it's trash, so I'll try not to put too much energy into this write-up. After a not-horrible start it only continues to get dumber by the minute. After the daughter gets killed (which everyone knew would happen after a few annoying false alarms) it gets completely lost in Dullland®. I'd be lying if I said I could follow the plot, there were too many utterly useless characters to keep track off, and nothing what I read about the film has led me to believe that it all makes sense, either.The characters are walking, human shelves, the drama is unconvincing. My two favorite parts in this regard are the one in which Lazenby first tells his daughter that there is no time for her to play with the other kids, but then decides otherwise, holds her jacket and runs off without saying another word to have sex with his mistress, later to walk directly home, where, after a bit of sculpturing and getting a bottle of cognac ready he starts wondering where his daughter might be. "Hm, I wonder where that kid is...what's here name...I just wanted to offer her some of this delicious beverage." The other scene is in which the mother, after having lost her daughter abroad while under the care of her ?semi-divorced? husband tells him to "please listen to reason, please can't we just try to forget what's past." Yeah, move on, Franco! Our only daughter was murdered, let's just, like, forget the brat and try better next time!"The movie theater killing is indescribably ridiculous and the final point at which I gave the movie up. Later we have a pointless scene (which is only there to show off a nice location) that almost equals the aforementioned scene in ridiculousness; it's the scene in an old warehouse-like building. It has one character following a character following another character walking aimlessly, one character being attacked by another one, evil characters suddenly disappearing and a good one suddenly appearing. The movie ends appropriately silly so that nobody should be deceived in thinking that this is some kind of masterpie...good movie. The explanation WHY we had to endure all this is silly, but that's the least of it. It's also wafer-thin and that simply doesn't cut it. Also the bad English dubbing only adds to the flick's overall lack of quality.Even the music, easily the best part of the production - even without identifying the composer as the Morricone - becomes a repetitive nuisance as the main theme is not only overused but also always used in the same situation and you can actually tell exactly when it will start before it starts (which is ALWAYS when we get a look at one of the killer's body parts). It's also clumsily used when it cuts off abruptly because the film cuts away from the situation, just to come back again when the film cuts back on it. A real button-pusher's job.The seeing-the-action-though-the-unidentified-killer's-eyes giallo stick remains to be alien to me. What is the killer, a great white shark? Do I give a crap who it is? In the case of this movie certainly not. When the killer was identified (there was only one thing we could be sure of beforehand, that the killer is a guy who likes to wear dresses) I knew I have seen the guy before, but I couldn't even remember who the character was.Not even the title makes sense. Why is it called 'Who Saw Her Die?', the plot, at no point in the movie, is ever asking for any witnesses to the murder.Crap, I did put too much energy into a waste of time again.

ferbs54 For those of you wondering whether George Lazenby ever made another picture, after incarnating the most under-appreciated Bond ever in 1969's "On Her Majesty's Secret Service"...well, here he is, three years later, in the Italian giallo "Who Saw Her Die?" In this one, he plays a sculptor named Franco who is living in Venice. When his cute little red-haired daughter is murdered and found floating in a canal, Franco naturally embarks on a quest to find the demented child killer. Lazenby, it must be said here, is almost unrecognizable from three years before. He sports a sleazy handlebar moustache in this film and looks decidedly thinner, almost gaunt, as if he'd been afflicted with a wasting disease in the interim. And the film itself? Well, it's something of a mixed bag. Yes, it does feature stylish direction by Aldo Lado, as well as a pretty freaky score by master composer Ennio Morricone, consisting largely of echoey chanting. We are also given plentiful scenery of Venice, which looks both beautiful and seedy here, an intriguing story to set our mental teeth into, AND Adolfo Celi, always a welcome presence (and another Bond alumnus, from "Thunderball"), here playing a mysterious art dealer. On the down side, I must confess that I was at a loss to understand what the hell was going on throughout most of the picture; what explanations do come toward the end are either half heard from distant rooms or grunted out during fisticuffs. Dubbing doesn't help matters (subtitles would have been a nice option), and the film is never particularly scary or suspenseful. I'll probably need to sit through this one again to get a better handle. Still, "Who Saw Her Die?" remains an interesting, nice-to-look-at giallo, nicely captured here in widescreen on yet another fine DVD from Anchor Bay.