Comwayon A Disappointing Continuation

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Tayloriona Although I seem to have had higher expectations than I thought, the movie is super entertaining.

Jonah Abbott There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

LeonLouisRicci This Seminal "Giallo" Film, Directed by Mario Bava, is one of those that was "Split" into Two Versions. The International and the American. While there are certainly "Differences" in the Two in terms of Tone, Musical Score, and other "Insertions" and Cuts, it Remains Influential and Interesting in Both Versions.Leticia Roman and John Saxon are in front of the Bava Visuals and Roman is Strikingly Beautiful as a Harrowed Heroine and Her Acting is Superb. Saxon, on the other hand Over Emotes although is Adequate as a "Sidekick" to the Leading Lady.The Film is Sighted as the First "Giallo", however Bava's (and in Color) "Blood and Black Lace" (1964) is a Better Introduction and Fully Fledged. By the way, this is Bava's last Black and White Movie and His use of Color is Predominantly the Signature Style of this Italian Auteur.That's not to say His B&W Films lack Style. This, along with "Black Sunday" (1960) are Great Examples of a Director of Photography who could Illuminate and Shoot Striking Images in any Format. All of Bava's Movies are Visually Stunning, Creative, and Fun. His use of the Medium as an Artist's Playground was Immensely Influential for other Practitioners and Directors.The Story can be Befuddling to Follow, especially in the American Version, but it Matters Not. The Agatha Christie Mystery Formula is there as are the Twists and Turns, Red Herrings, and when all's Said and Done the Movie is Fun, Great Looking, and an Example of Mario Bava's Style (Eye) that made His Movies Magnificent Mini-Masterpieces in the B-Movie Market.Bava's Groundbreaking way of Making Movies has Gained and Maintained a Legacy of Legendary Status and is Commented Upon Repeatedly to this Day by Film-Makers and Fans.

runamokprods Bava pays explicit homage to Hitchcock in this fun, mostly light hearted black and white mystery. An American girl vacationing in Rome witnesses what might be a murder (or is it her overactive imagination, spurred on by her love of cheap mystery novels?). And before you know it, she's the possible target of a serial killer. The black and white photography is beautiful, but Bava tones his style down just a bit, and it works; the photography compliments the story, without swamping it,. There are weak spots, like an annoying voice over that insists on explaining what the images are making very clear by themselves, and performances that are uneven (especially in supporting roles). But, the bottom line is, if it wasn't in Italian, one could even believe this was a Hitchcock film, which is a pretty high compliment...

Claudio Carvalho The American fan of mystery novels Nora Davis (Letícia Román) travels from New York to Rome to spend vacation with her mother's friend Ethel Windell Batocci (Chana Coubert). In the airplane, she accepts a pack of cigarettes from the passenger on the next seat and in the airport she finds that the man is a drug dealer. When she arrives at Ethel's place, she meets Dr. Marcello Bassi (john Saxon) and finds that the old lady is in the deathbed. During the night, Ethel has a heart attack and dies; Nora runs to the hospital to call Marcello. However, she is attacked and robbed in a staircase by a thief and faints; while awaking, she witnesses a stabbed woman and a man after her. In the hospital, nobody gives credit to her words. In the funeral, the stranger Laura Craven- Torrani (Valentina Cortese) introduces herself as a friend of Ethel and invites Nora to stay in her apartment while she travels to Switzerland to meet her husband. Nora accepts the invitation and decides to investigate the murder; she believes that the serial-killer of the so called Alphabet Murders is chasing her and she will be the next victim."The Girl Who Knew too Much" is an overrated melodramatic thriller of Mario Bava visibly inspired in Alfred Hitchcock. The awesome cinematography in black and white using shadows gives a fantastic atmosphere to the streets of Rome. However, the hysterical Nora Davis is annoying in many moments and the attitudes of Dr. Marcello Bassi are silly and naive. The conclusion of Dora about the cigarette of marijuana is ridiculous. My vote is five.Title (Brazil): Not Available

michaeldouglas1 Classic cinema! I have both versions, the Italian original "The Girl Who Knew Too Much" and the version released here in America by American International Pictures, called "The Evil Eye". Though I'm probably in the minority, I actually prefer the American version, at least slightly. My "10" rating is for "The Evil Eye"....while it's Italian counterpart easily rates 9.5.Not sure why some posters have a problem with the American title "The Evil Eye"; it's fitting enough, considering the overwhelming sense that Leticia Roman is being watched by the murderer at all times. "The Girl Who Knew Too Much" is a bit too cutesy, being such a blatant rip-off of Alfred Hitchcock. "The Evil Eye" is a fine, workable title. I also prefer the much-maligned Les Baxter score; Baxter was an good songwriter and arranger and provided a very fitting score. I find that the original score tends to grate on my nerves after awhile. And I think the theme song in particular sounds very cheap and sleazy.The dubbing in the AIP version is adequate enough, so one can avoid the hassle of reading subtitles. I find I get more out of a movie when I'm not having to concentrate on reading subtitles, especially in key scenes. (But that's just my personal preference).As for the differences in the two cuts, I would agree that "The Girl Who Knew Too Much" does have more continuity and does give more explanation, so ends up making alittle more sense. However, I didn't mind the more light-hearted approach Bava used for the American release, as it contrasted even more with the sinister scenes. One omission of Bava's in his Italian original was rather startling -- the scene in Leticia Roman's bedroom, during her first night at her Aunt Ethel's place. On the wall is a portrait of Aunt Ethel's late husband, and it's actually director Mario Bava himself! As Roman moves around the room, scantily clad, the eyes in the portrait follow her. This makes her so uncomfortable that she hangs a shirt over the portrait. This was a truly classic scene in "The Evil Eye", and was much missed in the Italian version. It functions as yet another homage to the Master -- Alfred Hitchcock -- who likewise always appeared as a cameo in his own movies. The scene that follows, in Aunt Ethel's room, is truly creepy, and sets up the events to come quite well. After fumbling with her Aunt's medicine, Roman sees the dead expression on the aunt's face, and realizes she's gone. Unable to reach the hospital on the phone, she runs to the window and opens it. Then she hears the bedsprings squeaking, and turns around to see Aunt Ethel jiggling on the bed! Turns out it's Aunt Ethel's pet cat clawing at the blanket that's making the bed shake, but Roman is so distraught that she runs out of the room. When I first saw that scene as a child, back in the 60's, it really creeped me out! Then the robbery and murder on the Spanish Steps come in rapid succession, and the movie is really "off to the races"! Another great scene is where Leticia Roman goes at night to an office building undergoing renovation, and a voice keeps beckoning her on through the unfinished corridors. Bare bulbs are hanging in the hallways and swinging in the breeze from open windows, and the stark black & white photography is at it's best here. Again and again, Bava shows the master's touch in setting up his scenes. All in all, both versions are masterpieces and are "must see" cinema!