|The Killer Must Kill Again (1975)|
|Writers:||Adriano Bolzoni, Luigi Cozzi, Daniele Del Giudice and Patrick Jamain|
|Starring:||George Hilton, Michel Antoin, Chritina Galbo and Eduardo Fajardo|
|The Plot: George Hilton plays Giorgio, the playboy husband of a rich socialite. Using his wife’s money, he has established himself financially and has several key investments that are about to pay off. However, when his wife suspects him of cheating, she quickly pulls the financial aid from him and he is left out in the cold. When he leaves his wife, he heads out without anywhere to go other than his lover Frederica’s apartment. When he stops to make a phone call to his lover though, he notices something strange going on by the neighboring docks. He sees a very strange looking man pushing a car, with a woman inside of it, off the dock and into the water. Hilton approaches the crazed looking man and the two begin a conversation. Hilton wants his wife out of the picture, this man has killed before, it seems that their chance meeting was a gift. So Giorgio offers The Killer a job, and the two devise a plan to bump off Mrs. Giorgio and make it look like a kidnapping. This way Giorgio can provide a neat alibi and these two can split the ransom money. All seems to be according to plan when The Killer manages his way into the apartment and kills off Giorgio’s wife. However, when The Killer places the dead woman in his trunk and heads back into the crime scene in order to clean up any potential fingerprints, he accidentally leaves his Mercedes running with the keys inside of it and the door open. Luca and Laura are two young lovers who decide that stealing this open Mercedes would be the perfect way for them to catch a ride to the shore in order to have a romantic rendezvous. Unfortunately for them, they will be tracked throughout the following days by The Killer, who wants his car and the body of Giorgio’s wife back.|
The film delves into numerous styles throughout, not just the general giallo format. During the initial part of the film’s big chase, with our Killer hunting down his grey Mercedes, we are shown a fairly amazing bit of cinematic logic. Cozzi uses a dizzying number of wild effects in order to craft an impossibly fast pace for a chase that will last for nearly the majority of the movie. This sequence includes strange fades to black as well as the use of jazz music to give the scene a beatnik feeling that seems more suitable for a student film of the era, rather than an intense cinematic thriller. Throughout this chase Cozzi implements a number of varying stylistic choices. Included amongst these are focused irises around topics that are of interest to the viewer from afar, lots more jazz music, and inevitably an incredible amount of suspense. The film certainly seems to be the type of project that was inspired by the work of Alfred Hitchcock. The principal idea behind the initial killing is a very general piece of suspense building, which seems entirely Hitchcockian to be honest, and Luigi Cozzi’s handling of the tension that it builds is exceptional.