I like the storyline of this show,it attract me so much

In truth, there is barely enough story here to make a film.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

After seeing the high-fashion styling of the Giallo Nothing Underneath on Video yesterday,I got in the mood to play one of the Gialli DVDs that has been waiting for a viewing. Reading about the title for a number of years,I decided it was time to clean the blood from the shadow.View on the film:Caught off-guard by the producer demanding he makes a second Giallo straight away, co-writer/ (with Domenico Malan and Marisa Andalò) director Antonio Bido decision to turn an unpublished short story from a friend of his wife into a script gives the mystery a novel-like spine,via the film being divided between clues to the killer,and a rustic slice of life, showcasing the daily rituals between Don Paolo and his flock. Whilst sadly dipping into some of the worst stereotype of the genre, (they can't just be a killer,they have to be gay and a child abuser as well!) and going for a low body count, the writers build up the terror by going for a sub-section of Giallo based in the rural wilderness, where the viciousness of block glove murders is matched by an extremely cynical take on religion, and a dissection at the suspicions that the locals view all outsiders with.Limiting the number of set-pieces, Bido & cinematographer Mario Vulpiani makes each of them count by expanding on the brittle mood of the script,the stylishly first-person tracking shots are lit by grisly deaths from someone getting shoved face first into a fire,to a final tribute towards Don't Torture a Duckling. Cleverly using Murano to stand in for Venice,and having Stelvio Cipriani and Goblin both work on the great brooding score, Bido and Vulpiani give their Giallo a harsh Film Noir appearance,in thick lines of bloodstained shadows and rooms covered in decaying green creating a Jack the Ripper era vibe, along with Bido keeping the tracking shots narrow to subtly express the closed-off,isolated state of the town.Whilst most kept from getting fully involved in the mystery, sexy Stefania Casini gives a very good performance as Sellani,who Casini uses to offer the lone glimpse of warmth in the murky Giallo waters. Unable to rub a fractured memory away,Lino Capolicchio gives a terrific performance as D'Archangelo, thanks to Capolicchio capturing D'Archangelo awkwardness as an outsider around the locals and his god-fearing brother Paolo, (played by an excellent Craig Hill) which simmers into a mature feeling of doubt over how the town is run,as D'Archangelo steps into the bloodstained shadow.

Solamente nero is one of the less known giallos and it's quite exceptional in the genre as it has very linear storyline and less violence. In that sense it's quite a conventional thriller. Pacing is one of the weaknesses in this film as it becomes quite boring after the first half. It becomes clear that there isn't going to be many surprises along the way. Too many things are explained in the very beginning just like in many American thrillers and not much of a mystery is left unrevealed.For example, why does it need to be explained that some woman is a medium who has mysterious seances with a small group of people and why someone's background has to be told in such detail that leaves no questions. The incoherence in Italian films is usually good for mysteries but this one has a completely coherent plot. There isn't many "aha" moments left for the viewer.The film actually was filmed in superb settings in Venice and has some spectacular outdoor shots. Interiors are also very beautiful to say at least. It appears that it had been made with a decent budget and with all these elements it could have been an instant giallo classic but it's just too conventional to make it. But it has to be mentioned that acting and character development in this film is better than in an average giallo.If the film was to be the best giallo ever, the same film footage should have been cut differently with more appropriate music in many scenes and less explanations on what is going on. That would have made it an instant Italian cinema classic.

The Blood Stained Shadow is the second – and last - giallo that Antonio Bido directed. His other one was Watch Me When I Kill (a.k.a. The Cat's Victims). While Bido may never be considered one of the masters of the genre, I actually think his two efforts are rather good and at the very least he should be considered one of the best purveyors of the genre in the late 70's. There are some aspects that do stand out in Bido's gialli, making them distinctive. Firstly, there is a somewhat slightly more serious tone and secondly, and most significantly, both films dispense with young sexy women as murder victims. In fact, in both movies it's middle aged characters that end up as the killer's targets. It might not sound like much to some but it is highly unusual, and both of Bido's gialli follow the same pattern. So hats off to the director for being a little bit different. Other than an obligatory sex scene, The Blood Stained Shadow has really no sleaze factor at all.The story begins with a mysterious slow-motion murder of a young girl. Several years later a maths teacher returns to his home town, where upon a series of murders ensues. Events seem to revolve around a séance group of local bad eggs.This is another one of those occasional gialli that is set in Venice. The off-season spookiness of the canal streets was also used to good effect in films such as Don't Look Now and Who Saw Her Die? This city does give off a unique ambiance, which is once again utilised well. The film also includes several other odd details in its plot that will be familiar to fans of gialli, such as the weird painting, the retarded boy in the cellar and the present being governed by a terrible event from the past. All of this is put together to construct a film which, while possibly a bit overlong, has a mystery that does actually work in that it isn't too obvious where it's going and there are some decent red herrings sprinkled throughout.Lino Capolicchio leads the picture. Many of you will be familiar with him from his turn in Pupi Avati's stand-out giallo The House with Laughing Windows. He's an interesting leading man. He's doesn't have the machismo of a Franco Nero, or the shiftiness of a Tomas Milian nor is he as suave as Jean Sorel. He plays characters a little more nerdy, which isn't so common in giallo leading men. He's good and is definitely a good choice for this more serious minded example of the genre. His leading lady is Stefania Cassini, most famous for her turn in Suspiria. I find her really very attractive and a good enough actress. Unfortunately, like here, she is normally dubbed into English by voice actresses. This is a mistake, as anyone who has seen the cult movie Blood for Dracula can confirm she has a beautiful, extremely heavy Italian accent that sounds simply divine. Ah well! The other significant contribution is the music. Stelvio Cipriani is the named composer but seemingly the legendary prog-rock outfit Goblin were key collaborators. It does sound a little Goblinesque at times - though not as good as their usual output to be fair. Still, it's a good soundtrack overall.The Blood Stained Shadow is definitely recommended to giallo enthusiasts.

Antonio Bido's previous foray into the Giallo sub genre, The Cat's Victims, was a rather messy and highly derivative affair, so I'm pleased to report that he's improved greatly for this follow-up. Typically for Giallo, The Blood-Stained Shadow features a convoluted plot, and unfortunately Bido's plot pacing can be a little off at times, as the film is painfully slow at some points, and then whimsically clever at others. Luckily, the director uses the atmosphere from the Venetian Island upon which the film is set well, and even during the 'down time', there is enough about the film to keep it ticking over in a pleasant manner. The plot starts with a shot of a dead body; a young girl whose murderer was never discovered. We pick up the plot some time later when a young man has returned to his home, which also happens to be the place where his brother, the local priest, lives. After having being told by his brother of all the immoral people in the town, a group which includes gamblers, perverts and con artists, the dead bodies begin to pile up. Is there a connection with the murder years earlier? The Cat's Victims was clearly very derivative of the great Dario Argento, and this film is too. The film isn't as well put together as the likes of Deep Red and Tenebrae, but Bido does a good job of imitating the superior director. The murder scenes are very well orchestrated and really quite nasty also; as we've got a man getting an axe through the heart, a woman having her head forced into a fire and other such gory highlights. The score by Stelvio Cipriani is a particular highlight, as the heavy tones suit the movie excellently and provide it with one of its strongest elements. Naturally with this kind of plot, it can be a little difficult to follow at times as random events occur at regular intervals; but Bido makes good of it by the end, as everything comes together in a way that makes sense and manages a genuine surprise for the audience. Overall, while The Blood-Stained Shadow isn't one of the heavyweight 'must see' films of the Giallo cycle, it has enough strongpoint's to ensure that it will be a point of interest for Giallo fans, and while the director has borrowed, perhaps even a little too much, seeing all the common Giallo elements in a film together is a treat. Recommended!