The ‘slasher’ sub-genre of horror is often said to have started with two films, 1974’s Black Christmas and 1978’s Halloween (while others might also lump 1974’s The Texas Chainsaw Massacre in with that grouping), and that very much may be true, but some of its roots most definitely grew out of the giallo films of the late sixties and early seventies, case in point, Sergio Martino’s 1973 horror mystery thriller Torso – featuring all of the trimmings (pardon the pun) that would soon litter each and every slasher flick to come.
Now, what should one expect to see in a movie like Torso. . . sex-crazed teens (who tend to investigate strange noises instead of finding safety, or wander off alone in unpopulated areas), suspicious looking peeping Tom’s (likely a red herring or two), an unknown psychopathic killer who uses some sort of bladed weapon (the suspense is killing me – as the murderer is masked. . . and not only uses a knife, but an ascot to strangle those unlucky individuals – I doubt it’s Fred from Scooby-Doo) – all these tropes would soon be found in your prototypical slasher film.
Centred on a class of art students in the historic and architectural hub of Perugia, Italy, as fellow mates fall around them during a frightening murder spree, they become petrified – flawed memories, suspicious stares and hypothetical finger pointing become part of the paranoia. Needless to say, unease is in the air, and in this context, four female friends, Jane (Suzy Kendall), Dani (Tina Aumont), Ursula (Carla Brait) and Katia (Angela Covello) decide to take a respite from the deathly uncertainty found in the city, heading to a small village where Dani’s uncle owns a picturesque villa that sits atop a nearby mountain.
With so many dubious looking men in both the city and village, could the killer be the youthful doctor (who finds himself in the same compartment as the women as they take the train to supposed safety – played by Luc Merenda), the wannabe-boyfriend of Dani – Stefano (Roberto Bisacco), the older artsy professor who has a thing for Jane (John Richardson), Dani’s uncle whose eyes linger (Carlo Alighiero), a creepy scarf-selling street vendor near where the classes are held (Ernesto Colli), or some other perverted individual (male or female)? What is clear is that the mystery somehow revolves around a flashback to a doll – a checkered past equalling a more than disturbing present and future. And it soon becomes clear that nowhere is safe, as the masked murderer has made his or her way to the quaint tiny town. Will any of the girls find safety atop a secluded mountain?
Arguably one of the edgier gialli to come out of Italy, Sergio Martino ratchets up the mayhem. . . bloody violence and numerous nude scenes done with the utmost flair. Utilizing his entire tool belt, expect a wide array of camera shots (zooms, first person perspectives, over the shoulder/shoot from the hip pov’s, hand held camera work, voyeuristic angles from the bushes, etc.), scrumptious cinematography (both the dark lit streets and moody interiors are more than stylish), and a number of impressive set pieces – the genesis murders take place at night (only lit by way of a car’s lights), while the best sequence revolves around a killer, a trapped dame, a locked door, and a key needed to escape – an example of the creative ways screenwriters like Martino and Ernesto Gastaldi (The Forbidden Photos of a Lady Above Suspicion; The Case of the Scorpion’s Tail) come up with tense situations, as well as how Martino expertly executes such a complex visual idea. It must also be mentioned that the architecture in Torso is absolutely stunning – on its own, worth the price of admission.
With more red herrings than even a fish lover would need (during production, none of the cast was told who the murderer was – leaving them guessing much like the audience), Torso will keep you on the edge of your seat – as nearly ever guy seems like an absolute sleazeball. Though this picture may not have the same dynamic vision and non stop creativity as some of Martino’s earlier work (The Case of the Scorpion’s Tail and Your Vice Is a Locked Room and Only I Have the Key), it is still an entertaining and visually enticing feature. And though this film won’t provide anyone with a guide to the art of seduction, it is a prime example of how the giallo was a precursor to the American slasher film. So, discover the secret of the mysterious doll flashbacks, it should paint a picture of the killer’s disturbing motives.
Can be watched in Italian with English Subtitles, dubbed English, or in a hybrid Italian/English version