21 Days Until Halloween, 2013: WATCH ME WHEN I KILL (1977)


Okay, I wrote a huge essay about the merits of this excellent movie which I then proceeded to accidently delete. I am pissed, because this is truly a GREAT giallo that is stylistically and thematically unique. I truly endorse it.

Though an obvious homage to Argento’s DEEP RED, there are ways in which it is light years ahead of what Argento had done previously (…yes, I said it…and I defended it in my accidently deleted post), particularly in the subtle juxtaposition of the “naturalistic” with the stylized. WATCH ME WHEN I KILL is as controlled and aesthetically complex as Dario Argento’s early films, but the effects created with editing, composition and narrative, though “felt” as atmosphere, are more seamlessly weaved into the texture of the film.

I could say thousands of positive things about the style and narrative techniques (particularly the way in which information is revealed or obscured), but I’d likely just delete it all accidently so I’m going to let it go for now.

Besides, this is for my friends, so I don’t really need to spend a bunch of damned time explaining the norms of giallo horror while explaining how this film transcends and uses them. Just trust me.


A heads up, don’t read about the movie’s plot before watching. It’s best to experience this blind. I admit I become unnaturally involved in Italian horror films, but I almost cried when the murderer was revealed. Don’t ruin that for yourself.


Apparently a clean, beautiful letterboxed version of this movie was released in England, but we aren’t so lucky in the States.

I’ve provided you with two options below.

I actually recommend you watch the version that ISN’T letterboxed, from the 80s video release. That’s a bizarre recommendation for a movie I love, I know, but you’ll notice that it is several minutes longer. This is the uncut version. The sound and picture quality is also much better. For the most part the composition doesn’t suffer much from being cropped.

At the same time, I have an undying respect for this film and hope that you might develop similar feelings, so I’ve included a very bad widescreen version from Germany should you feel the need to compare and contrast the two.





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