It's no definitive masterpiece but it's damn close.

There are better movies of two hours length. I loved the actress'performance.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

RELEASE DETAILS: Copyright 1971 by Seda Spettacoli/Mondial Film (Rome) and Terra Filmkunst (Munich) and Labrador Films (Paris). U.S. and U.K. release by National General Corporation (N.G.C.). New York opening at neighborhood cinemas: 26 May 1971. U.S. release: May 1971. U.K. release: July 1971. 112 minutes (U.S.); 104 minutes (U.K.). Italian release title: Il Gatto a nove code.COMMENT: This Techniscope Dario Argento film suffers from cropping on a TV screen, though it is not one of his class "A" efforts all the same, despite fluid camera-work for the subjective eye of the madman and typical thematic pre-occupations, plus some rather grisly killings. Interest in the actual identity of the murderer is rather perfunctorily worked up, and Karl Malden is almost laughably uncomfortable in the role of a blind ex-newspaperman who loves solving puzzles. James Franciscus is not much more at ease as the newspaperman, but Catherine Spaak makes an agreeable femme fatale.OTHER VIEWS: The above review was based on the cropped TV version. This movie is now available on DVD in its original 'Scope format. Needless to say, it plays far more suspense-fully and really rivets the attention. Even the actors like James Franciscus and Karl Malden come across with far more power and innate charisma.

An early suspense thriller from Dario Argento which lacks some of his later horrific overtones but still benefits from a good helping of style and an involving plot - the story was also written by Argento. Altogether, this is a complex, involving film with plenty of unusual characters with diverse relationships, some good acting, and some moments of extreme violence for which Argento later became known. A big plus in the film's favour is the casting of the charismatic James Franciscus in the lead role as an investigative reporter who's determined to get to the bottom of the mystery. You could be forgiven for thinking that blond American Franciscus falls into the category of his contemporary wooden actors such as William Shatner and Doug McClure, but this is not the case. He lends a sophistication and skill to his character which is rarely seen in these horror films, and Argento gets nicely subtle performance out of him.Franciscus is ably supported by an ageing Karl Malden, cast as a blind man. Malden enjoys himself a lot in a meaty role like this, making his snooping, quick-thinking busybody both comical and humane. The pair are supported by a pushy Catherine Spaak playing a mistress and plenty of other Euro-folk, including Rada Rassimov (Ivan's brother) and Horst Frank, familiar from his earlier role in 1967's potboiler, THE VENGEANCE OF FU MANCHU. A jazzy score from Ennio Morricone never misses a beat, considerably adding to that whole '70s "cool" feel to the film, a make-believe world of exotic locations, wholesome folk and the occasional loose cannon.Argento doesn't fail to add his own trademarks into the brew - including tracking shots (from the killer's point of view, this was before BLACK Christmas too) and some unflinchingly brutal murders. Indeed the giallo form is present and correct here, with a faceless killer (we only ever see their eye in extreme close-up) garrotting a number of unfortunates who were too slow to figure out what was coming. A photographer in the wrong place at the wrong time, an informant and even a couple of scientists fall prone to this powerful murderer, their deaths, while not explicit, still being realistic and hard-hitting. Near the beginning of the film, another man is pushed under the wheels of a train, Argento taking the opportunity to show us his mangled body bouncing and writhing as it is broken under the tons of steel pounding over it.Plenty of action and suspenseful sequences build up the twists and turns in the plot, which lead to a predictable confrontation between Franciscus and the killer. This is a fast-paced, intriguing thriller with plenty going on to fill out the lengthy running time, and a must for fans of both mysteries and Italian crime cinema.

Great Directors can Suffer from Self Comparison among the General Public and Ardent Fans. That is, a Particular Movie is Compared to the Auteur's Other Work and Not the Work of Others. Such has been the Case with this one, the Director's Second Film where He is Obviously Finding His Niche and has yet to Develop the Pure Style and Momentum of His Later Work.Fans are Divided on this one and if Viewed in Context with the Filmography one can see Why. The biggest Problem, if Someone is Looking for a Problem, is the Pacing. It Tends to Linger and Drag in Spots. It's also fairly Long and that Doesn't Help. But there are enough Scenes of Excellence and the Plot, while a bit Dense, is Intriguing.The Train Platform Scene, among others, are Unmistakably Argento and the Odd Music can Unsettle in Parts. James Franciscus and Karl Malden are better than OK and the Little Girl is more than Fine. Argento Newbies, Do Not Start Here! This one takes some Patience and the Director has said it is one of His Least Favorites, perhaps His Worst. But even His Worst is Better than Most. Definitely Worth a Watch even for Casual Fans and Argento Cultists will want to see it for an Example of His Early Work and for Comparison.

Dario Argento's second movie as director shows hints of the things that would give him a cult following. It's not really a horror movie as much as a mystery story, as the main characters try to solve a murder in a pharmaceutical research institute. James Franciscus and Karl Malden prove their versatility as the men who join up to find out what happened. The cemetery scene is the most intense in the movie. As with all these movies, it's clear that the Italian actors are dubbed, while the Americans are speaking English. While this might not have been Argento's favorite of his movies, I liked it. Whether the Renaissance-era paintings or Federico Fellini or the giallo genre, there is no denying that Italy has given us some of the greatest art. You're sure to love "Il gatto a nove code" ("The Cat o'Nine Tails" in English).PS: Dario Argento's daughter Asia played Yelena in "XXX".