Sette note in nero
Director:
Lucio FulciCámara:
Sergio SalvatiReparto:
Jennifer O'Neill, Marc Porel, Gianni Garko, Evelyn Stewart, Elizabeth Turner, Luigi Diberti, Gabriele Ferzetti, Jenny Tamburi, Bruno Corazzari (más)Streaming (1)
Sinopsis(1)
En Florencia, el 12 de octubre de 1959, una niña de seis años llamada Virginia contempla mediante clarividencia el suicidio de su madre en un acantilado de Inglaterra. Pasados los años, Virginia (Jennifer O,Neill) es una elegante mujer de alta sociedad casada con Francesco Ducci (Gianni Garko), un acaudalado hombre de negocios. Aprovechando un viaje de negocios de su marido, Virginia decide sorprenderle y rehabilitar un antiguo caserón de campo de la familia Ducci. Pero, en el trayecto en coche al caserón, una serie de alucinaciones irrumpirán en la mente de Virginia con perturbadoras visiones en las que intuye un asesinato. Tras recuperarse y llegar al caserón, Virginia comprobará horrorizada que una de las habitaciones del lugar es exactamente igual a la que vio en su trance. Siguiendo las pistas desveladas en sus visiones, Virginia sacará a la luz un terrible secreto que cambiará del todo su mundo, por lo que pedirá ayuda a su amigo y parapsicólogo Luca Fattori (Marc Porel)... (Filmin)
(más)Reseñas (2)
Seven Notes In Black has a very good plot, breathtakingly good for 1970s Italy, and Fulci in particular. At a certain point it’s clear how the story will end, but it still holds the attention of the viewer thanks to its brilliant crescendo. However, I have the feeling that this film has so little horror that it can’t be called a proper Giallo. It’s only a detective movie, but I don’t see it as a problem.
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Very, very tame Fulci. It's not a Giallo by any stretch of the imagination, nor is it a horror film, in fact you wouldn't even know that it was made by the father of gore, except perhaps for the constant panning and zooming of eyes, which was his trademark. There are a few close-ups of bloody bodies, but very subtly conceived, and good-old Lucio could have spared us the repetition of the effect of the falling body from his previous piece Don't Torture a Duckling, where the face of a fallen person is rubbed bloody against a rock and we can clearly see that it is a stupid dummy. It looked silly back then and it looks silly today, too. But the story isn't bad, it has logic, it keeps the mystery until the very end where the cards are laid on the table, and it builds up quite nicely. And once again it was confirmed that Fulci knew how to choose beautiful women for his films and give them expressive roles that were a joy to play.
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