Year: 1971
Duration: 01:00:00
Directed by: Dario Argento
Actors: James Franciscus, Karl Malden, Catherine Spaak and Pier Paolo Capponi
Language: English
Country: Italy | France | West Germany
Also known as: Il gatto a nove code, Cat o’ Nine Tails, Die neunschwänzige Katze, Le chat à neuf queues
Description: As requested by one of the users here is Dario Argento’s early classic “Il Gatto A Nove Code” (The Cat O’ Nine Tails). These early Argento films are unfortunately overlooked by many who just plunge straight into the later horror films. This, like “The Bird With The Crystal Plummage” and “Four Flies On Grey Velvet” (the three films making up Argento’s animal trilogy) are more Hitchcockian thriller than the later, more gory films, and are great, tight little giallos. Amazingly shot as always and well worth checking out.
From some reviewer: I personally love this movie and I’m a shameless admirer of Dario Argento, so take my comments as worth a grain of salt. Sure, “Cat O’ Nine Tails” (1971) is not an Argento “masterpiece” (depending what one’s criteria are) and is certainly not a perfect film, but the “good stuff” in this baby just outweighs whatever it’s faults may be, as far as I’m concerned. It’s beautifully photographed (as usual) and makes lovely use of the widescreen filmscape, it has a great Ennio Morricone musical score and it really displays the first true signs of Argento’s unique “ultra-style” and technique for which he is now so beloved. There are some gorgeous set pieces here and some truly striking sequences (the cemetery scene and the car chase are my two particular favorites).
The film is filled with typically Argento-esque odd, eccentric characters and bit players and the atmosphere created is one of true unease and hidden perversion. Karl Malden is terribly sweet and thoroughly convincing as the blind man Arno and James Franciscus is handsome and cool (almost too cool) as the reporter with whom he collaborates. I think Catherine Spaak makes a great leading lady with her aloof beauty and non-acting presence. She, to me, represents the kind of female character that Hitchcock was so good at bringing out of his actresses; she is a virtual blank slate upon which the director (in this case Argento) projects what he wants.
This being Argento’s second film as director, it’s perhaps true that he does not achieve the delirious highs and awe-inspiring beauty of some of his later films. But on the flip side, “Cat O’ Nine Tails” is exceedingly better than so many other ‘giallo’ films of that era or any era. Definitely a must for any Argento fan and, I think, a good recommendation for anyone looking for an unusual Euro-Horror-Thriller.
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