That was an excellent one.

Admirable film.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

"The Girl Who Knew Too Much" marks two moments in Bava's career in filmmaking: it is both his last film in black and white and first film that will further refine the giallo genre.It is easy story about American girl (Nora) visiting old family friend Edith who lives in Rome, Italy. Right after her arrival, Edith dies and she went through series of unfortunate events; first she's been victim of purse theft (thief left her unconscious on the ground) and right after (when she wakes up) she witnessed murder of a woman. That scene was created with the use of water glass effect, thus leaving us no authentic feeling if murder occurred as a product of Nora's hallucination/delusion. It is interesting that weapon used for murder is knife, which is also the title of the novel she was reading on the plane at the very beginning of the film.From the moment I started watching film, I was amazed with lighting and camera angles: those elements are stunning; it's obvious that whole film is masterfully crafted. Even though it is obvious that film follows/incorporates Hitchcockian elements/patterns, I still find it very invigorating and fresh. The reason behind that is refreshing aesthetics; Bava for sure succeeded to maximally utilize surrounding of filming locations in Rome, playing successfully with lighting, music and exemplifying grandeur of neoclassical architecture of Rome.What is really fascinating is Bava's lucidity and wit. The film exudes a very specific humor (voice narration in the first scene, and in many other, is pure comedy) suggesting, from time to time, that whole plot may be a dream and adding a frivolous touch to many "dramatic" events. It's quality I've never "recognized" in Hitchcock's movies.

A tourist (Letícia Román) witnesses a murder and finds herself caught up in a series of bloody killings.Not only was this Mario Bava's final film before switching to color, but it is widely considered a seminal work in the giallo subgenre. Indeed, it is certainly film noir with an Italian flavor. Bava gets more out of black and white than most directors are able to get from color -- the use of shadow and light is exquisite.Oddly, Bava said he "thought (the film) was too preposterous. Perhaps it could have worked with James Stewart and Kim Novak, whereas I had... oh, well, I can't even remember their names." Dude, you had John Saxon. Sure, you did not have Stewart and Novak, but you also are not Hitchcock. You are one of the greatest Italian directors of all time!

...The Giallo-film, that is, since Horror cinema's most intriguing sub-genre owes its name and existence to murder mystery books (Gialli), which were originally published with yellow covers in Italy. With Gothic Tales and Gialli being my two favorite sub-genres in Horror, Mario Bava, supreme master of the former and inventor of the latter genre, is not only my choice for the greatest Horror director who ever lived, but also ranks among the greatest directors regardless of genre, in my opinion. "La ragazza che sapeva troppo" aka. "The Girl Who Knew Too Much" of 1963 is the first Giallo ever made and must therefore be regarded as one of the most influential Horror films/ Thrillers ever brought to screen. It was Bava's next film, the 1964 masterpiece "Sei Donne Per L'Assassino" (aka. "Blood And Black Lace") which really defined the genre, but this one is the prototype. Decades later, the American Slasher film took its main inspiration in the (vastly superior) Italian Giallo, so it is save to say that large parts of the Horror genre probably wouldn't be the same if it wasn't for this film. The title is, of course, a homage to Alfred Hitchcock's "The Man Who Knew Too Much" (which he made twice, in 1934 and 1956), and this isn't the only Hitchcock reference in the film. However, the real inspiration obviously came from the aforementioned Italian Murder Mystery books.Nora Davis (Laetitia Roman), a beautiful young American woman, comes to Rome in order to visit her aunt. Soon after her arrival, however, the aunt dies at night. When the phone doesn't work, the distressed Nora runs out on the street, and becomes witness to the stabbing-murder of a young woman. With the help of the young doctor Marcello Bassi (John Saxon) Nora begins to investigate herself, finding out that the murder resembles the crimes of the infamous 'Alphabet-murderer', who killed his victims in alphabetical order. And the last victim's name began with a C..."La ragazza che sapeva troppo" is a stunningly intriguing and extremely elegant Mystery in all aspects. Unlike it is the case with Bava's other Gialli, "The Girl Who Knew Too Much" has likable characters. Nora is the perfect protagonist for a suspense film - both lovable, which makes us care for her, and stubborn enough to be willing to solve the crime herself. And not only is Laetitia Roman stunningly beautiful, she also delivers a great performance in the role. Sadly enough, her career didn't last very long, and she retired from acting in the late 60s, while still in her 20s. It is great to see John Saxon, one of the most deservedly celebrated cult-actors, in an earlier role, as the young doctor who is in love with Nora. The rest of the performances are also very good. Bava is often praised for his stylish and extremely elegant use of colors, yet his use of black and white is just as magnificent. His greatest masterpiece "La Maschera Del Demonio" aka. Black Sunday" of 1960 (probably my choice for the greatest Horror film ever) was ingeniously shot in black and white, as is this gem. "The Girl Who Knew Too Much" is shot in beautiful Roman locations, and another proof that Bava was also the greatest cinematographer the world of Horror has ever seen. Bava's talent to combine beauty and terror is unmatched, and this film is another example for that. The film's genre-defining plot is full of red herrings and clever twists, a tendency which would constantly be refined and deepened in the wonderful Giallo-genre. Overall, this film is an absolute must-see for Horror fans, and Bava enthusiasts in particular. It isn't even quite one of Bava's most fascinating films, and it was "Blood And Black Lace" which truly defined the Giallo genre. However, it is "The Girl Who Knew Too Much" which must be recognized as the first Giallo ever made, and, even apart from its immense influence, it is a damn fine thriller and a deliciously suspenseful and beautiful film. 9.5/10

The Girl Who Knew Too Much (1963) is director Mario Bava's gleeful homage to Hitchcock; and one of the earliest examples of the Italian Giallo sub-genre of horror/suspense cinema that would go on to inspire an entire generation of horror filmmakers throughout the subsequent two decades. If you're at all familiar with the work of director Dario Argento for example, then you can see the roots of films like The Bird with the Crystal Plumage (1970), Deep Red (1975) and Tenebrae (1982) already being established by the skillful blending of low-key thrills, character development and good old fashioned murder mystery, as captured by Bava in this excellent, slow-burning suspense piece. Although it may take some viewers a while to settle into the overall tone of the film - with those first few scenes presenting us with a veritable bombardment of information, both narrative and thematic, before the first murder has even taken place - the eventual unravelling of the plot, and Bava's excellent direction eventually draw us deeper into a story that is here punctuated by a charmingly romantic subplot, a miniature travelogue around the tourist traps of Rome, some subtle moments of almost slapstick humour, and the director's always inventive use of visual experimentation.The usual Gialli trademarks are already beginning to take shape here, with the film focusing on a foreigner - in this case, twenty-year old American student Nora Davis - who travels to Rome to visit her ailing aunt and inadvertently witnesses a murder. Alongside this central plot device, which would be utilised by Argento in many of his greatest films, such as the three aforementioned, we also have the ideas of sight and perception; with the central protagonist unintentionally witnessing something that is shrouded in elements of doubt and abstraction, and thus having to prove what she saw to sceptical police officers and those nearest to her. Bava's film is also given a neat touch of self-referential sub-text; opening with a shot of the central character herself reading a Giallo murder mystery, casting some doubt as to whether or not the film plays out in the literal sense, or whether it is a merely a constructed reality, taking place in her own mind as she reads the book to herself. This is a thread of interpretation that is examined throughout by the filmmaker, with the title of the book itself, "The Knife", having an importance on the plot that perhaps surreptitiously suggest some element of imagined fantasy.Once we get through those hectic opening sequences, which introduce the characters and a number of potential sub-plots that are essentially window-dressing to throw us off the trail, the film settles into the murder mystery aspect and the burgeoning relationship between Nora and her young doctor friend, Marcello Bassi. Through the relationship, Bava introduces a subtle comment on the Holmes vs. Watson partnership recast as a romantic dilemma, whilst also creating space within his story to let the audience catch up and think about the potential clues already collected in order to lead us to the eventual discovery of the killer's identity. The use of sight and Bava's directorial slight-of-hand is used meticulously for the initial murder sequence; with the director creating a literal feeling of hazy disconnection and a distorted perspective through a somewhat dated visual effect and the always masterful use of light and shadow. Although the actual effect - which replicates the look of ripples on a pond - might lead a more contemporary audience to giggle or cringe, it does tie in with the continual use of water-symbolism in Bava's work, from the final story in The Three Faces of Fear/Black Sabbath (1963), and A Bay of Blood (1971) most famously, as well as a somewhat cheap gag about marijuana cigarettes that will pay off in the film's closing moments.Again, the use of humour taps into the spirit of Hitchcock, with intrigue, voyeurism, suspense and murder being reduced to mere complications in the continual romantic wooing of Nora by the charming Dr. Bassi. Nevertheless, the thriller aspects are what we remember most clearly; with Bava's always atmospheric direction, iconography and ability to create tension from the slightest movement of the camera. Once the credits have rolled, we release just how subtle much of Bava's use of sight and perception actually was; with a number of scenes leading on from a moment of confusion by the central character, in which she thinks she sees something that turns out to be nothing of the sort. Again, it shows the director playfully undermining the central character; presenting Nora as someone unable to trust her own eyes, and thus, unable to be trusted with the ultimate unravelling of the plot. Nonetheless, Bava also succeeds in throwing us into this enigmatic mystery; undermining our own perspective of the story by showing us important information early on, allowing us to feel superior to Nora with our benefit of a forewarning, only to then cast further doubt in our mind as the gallery of suspects mount up.Though still something of a minor work for Bava, The Girl Who Knew Too Much is undoubtedly great; enlivened by the fine performances from the two leads, John Saxon (a cult actor with an impeccable list of credits) and the delightful Leticia Roman (I'm honestly quite smitten), and absolutely brimming with style and energy. The gag at the end is in-keeping with Bava's work, but certainly doesn't lessen the impact of the more thrilling scenes that came before, or the air of grand mystery and excitement suggested by his excellent approach to editing, cinematography and design. Beware that the film also exists under the title The Evil Eye; re-edited by Bava for the American market as more of a light-hearted romp (Tarantino calls it's a masterpiece). The version reviewed here is the original Italian version, a minor masterpiece of Giallo thrills, cinematic abstractions and an old-fashioned approach to storytelling that grips us from the start and never lets us go.