User Reviews

I love that in the seventies, you could pull up to a petrol station get out next to the pumps, try and light up a cigarette, find out the packet is empty, throw the empty packet on the ground, then go and pick up a hooker.

This seems to be a blend of the old school gialli (rich, soulless socialites double crossing each other) and the new gialli (gloved killer, stabbing) that has a middle part that centres around a murder prosecution. You might need a little patience.

After we're introduced to our characters with their names appearing onscreen beside them, we see a girl's corpse tumbling down a hill in a park and being found by two kids. Several witnesses spot a person in a mac stumbling through the park, with one lady claiming that the killer is a well known television personality whose daughter coincidentally it the murdered girl's best friend. However, a dazed Helmet Berger is seen staggering around the place too, so we know that things are going to get convoluted pretty quickly.

Cop Silvio Tranquilli is brought in to...well, not break these case as they get a suspect pretty quickly, but he does complain about coffee a lot. Plus, this whole sequence gives director Duccio Tessari a chance to give us all sorts of freaky camera angles while the police use scientific methods that seems to quickly lead to a healthy case to send down the TV presenter.

However, the suspect also has a pretty good lawyer who may very well get him off the hook. Well, nearly. After the presenter's wife (Ida Galli) accidentally gets the guy sent down, things get very giallo like as true motives are revealed, the double crosses begin, and the murders seemingly continue, even though the killer is in jail.

To give you an idea of the pace of this film, the police are still standing over the first victim's body eighteen minutes into the film. Then you get the courtroom drama and the mystery of what Helmet Berger has to do with it all. Duccio Tessari is no fool, however. His eye for good visuals shines through and we get a change of scenery as the film is set in Bologna, not a place that turns up frequently in these films.

It does drag, but the ending is worth waiting for. I'd been after this one for ages and although it's good, I don't think I'd ever watch it again.

Behind a typically abstruse giallo title (the plot's link to a butterfly of any kind is extremely tenuous) lies a film that rarely feels like a typical giallo, with more police procedure and courtroom drama than usual. Director Duccio Tessari's film opens in familiar territory with the murder of a young woman in a park, the killer, in raincoat and hat, making his escape, but witnessed by several people. The police investigate the crime scene, forensics gathering numerous pieces of evidence, all of which points to TV reporter Alessandro Marchi (Giancarlo Sbragia) as the guilty party. The rest of the first half of the film is dedicated to the trial of Allesandro, with dreary flashbacks and cross-examination making the film something of a chore to sit through.

Found guilty of murder, Allesandro is sentenced to life, but while he is in prison, the killings continue, the modus operandi the same as before, the culprit contacting the police with a whispered phone call. When Allesandro's mistress comes forward with vital information that seems to prove his innocence, Allesandro is freed (much to the annoyance of his wife, who also has a lover). After much intrigue, Tessari eventually pulls together all the plot threads for an unexpected twist ending that goes some way to make the duller moments seem a bit more worthwhile. As far as the death scenes go, they are extremely tame and likely to disappoint fans of Argento or Fulci, and despite a fair few attractive women, the level of nudity is also fairly low.

Perhaps the most notable things about the film are its police inspector's strange obsession with coffee, and the cop who falls over running down some stairs during a chase on foot through the streets of Milan (it looks unintentional and is never spoken of).

5.5/10, rounded up to 6 for IMDb.

While walking through a park in a rainy day, the young Françoise Pigaut (Carole André) is stabbed to death by man wearing raincoat and hat. Inspector Berardi (Silvano Tranquilli) is assigned to investigate the case and soon the TV anchor Alessandro Marchi (Giancarlo Sbragia) becomes the prime suspect. His daughter Sarah Marchi (Wendi D'Olive) was Françoise's best friend and their common friend Giorgio (Helmut Berger) had a crush on Françoise. Alessandro's friend and attorney Giulio Cordaro (Günther Stoll) defends him in the court but Alessandro is found guilty and sent to prison. When two other women are murdered and it is found that Alessandro's wife Maria Marchi (Evelyn Stewart) is the lover of Giulio, the defense asks for mistrial and Alessandro has another trial. Who might be the killer?

"Una farfalla con le ali insanguinate", a.k.a. "The Bloodstained Butterfly", is a crime story with a great twist in the end. The suspenseful screenplay begins with the presentation of several characters and is confused, and the slow pace is tiresome. But the story is good, and the unexpected conclusion surprises the viewer. My vote is seven.

Title (Brazil): "Uma Borboleta com as Asas Ensanguentadas" ("A Butterfly with the Bloodstained Wings")

One of the best gialli to come out of Italy in the 1969-77 period, it's very stylish and (of course) convoluted, but always interesting and ultimately quite clever. For once the solution to the mystery actually matters (and makes sense!), and the motive behind the murders and the finale are worthy of Agatha Christie. I highly recommend it. Great soundtrack too, I just bought the CD.

I only heard about this giallo recently, but it's undoubtedly one of the best examples of the subgenre that I've watched. Besides, from the little I've checked out of Tessari's work so far (incidentally, I've just recorded his Spaghetti Western A PISTOL FOR RINGO [1965] - which I'll catch up with soon enough), it's easily his most significant effort; I should also be getting to PUZZLE (1974), another giallo of his, in the near future.

THE BLOODSTAINED BUTTERFLY (as ever, the title is only peripheral to the main narrative) - which opens with an identification of all the major characters - is especially notable for its complex editing structure, with details of plot related throughout in abrupt flashes (as either part of a lengthy trial sequence, which occupies the majority of its first half, or during troubled lead Helmut Berger's regular fits, which remain unexplained till the finale). While characterization is somewhat aloof (with no real female counterpart to Berger, despite a fair number of women in the cast), the principal actors are well chosen and also include such familiar Euro-Cult faces as Carole Andre' (playing a murdered victim), Evelyn Stewart (the wife of the suspected killer), Silvano Tranquilli (the police detective assigned to the case) and Wolfgang Preiss (the prosecuting attorney).

The narrative is a bit on the seamy side - encompassing (if ever so discreetly) rape, infidelity, paedophelia, pornography, prostitution, etc. - but welcome comedy relief is provided by the interaction between the flustered Tranquilli and his long-suffering junior partner. Unlike many films of its ilk, the audience is kept guessing as to the identity of the villain up to the violent climax (resulting in a curt but satisfyingly bleak ending) and, just as thankfully, the script dispenses with the idea (popularized by Alfred Hitchcock's PSYCHO [1960]) of presenting a forced last-minute explanation - wherein a psychiatrist is appointed to dig into the killer's past, in order to extract some lame motive for his misdeeds. Typically, however, the eclectic score (courtesy of Gianni Ferrio) is masterful - especially in the way a Tchaikovsky symphony is seamlessly woven into the soundtrack!

The film is available on a bare-bones DVD from both Italy and Spain - but it more than merits a decent release in R1 through, say, Blue Underground (given their predilection for such "Euro-Cult" offerings)...

Farfalla con le ali insanguinate, Una (1971) aka The Bloodstained Butterfly, Duccio Tessari

During a rain storm, in broad daylight, a young French girl, Françoise Pigaut, is stabbed and killed in a park by a man in a beige rain mack and tweed hat, there are many eye witnesses in the park that see this shady figure but despite the best efforts of the police to cordon off the park, after a thorough search they find he has escaped. Police suspect a sex maniac is the killer despite the fact she was not sexually assaulted, they do however have the killer's footprints, fingerprints, a sample of his skin from under the dead girls nails and also the murder weapon, a deadly bloodstained flick knife. After watching TV, one of the women witnesses has her memory triggered and claims that the killer is in fact TV anchor man Alessandro Marchi, he is soon pulled in and questioned, the police are sure he is the killer, so when its found he knew the girl and his prints are on the murder weapon, it seem like an open and shut case. So when two more murders are committed in the same park, police despite there protestations to Marchi's guilt, are forced nonetheless to release him.

Its hard to write a synopsis for this film as its first half is a very technical police procedural film interspersed with a court case involving No1 suspect Marchi, the film also explores the mental demise of the victim's boyfriend Giorgio, who is struggling to deal with her loss. Just like Tessari's Uomo senza memoria, L' aka Puzzle (1974), The Bloodstained Butterfly is not your usual glossy entry in the genre, it is filmed in a rather grainy film stock, but this doesn't detract in any way from the viewer's enjoyment, the film itself is slow to get going, but if you stick with it, its very rewarding indeed, as all the main characters are soon under the viewers suspicion, the inter relations between these characters are also slowly revealed to the viewer and grow ever more complex adding to the tension and the viewers suspicions, to say any more though, would spoil the fun. The score by Gianni Ferrio is superb, its seamless opening strains are given birth out of Tzaichovsky's piano concerto in B Minor, a classical piece that is reprised throughout the film as a musical motif for the lovers Giorgio and Francoise, Francoise was in fact murdered with a copy of the classical opus in her possession, Ferrio's evocative score reaches its height at the films finale as we see a fight to the death interspersed with some beautiful flashbacks, In Bloodstained Butterfly, Tessari again bucks the Giallo trend and never resorts to cliché, the film might bore some people to tears but for me it was a complete success and pleasure to view, its surprise twist caught me out completely, I love it when that happens Highly recommended for lovers of slowly paced intelligent Gialli.

You have to be a fan of the genre to watch those movies. A lot of sleaze and a lot of exploitation going on. Or you're movie mad like me and you watch almost anything that is suggested to you ... I roll like that. So this Giallo that is also part court room drama and has other elements to it at times, works like a mystery thriller would (or a whodunnit).

Decently told with enough sensationalism, action and nudity to keep anyone occupied who wants to be ... some very nice performances and the music works too. Editing is also a big part especially considering the murder that this movie begins with ... so a good movie overall that still won't get to those who dislike these types of movies ... but they are not the target (audience) ... so there's that.

Duccio Tessari is probably best known as the director of several Spaghetti Westerns, most prominently the "Ringo" films with Giuliano Gemma, as well as the well-known Italian Crime flick "Tony Arzenta". The man also served as an (uncredited) co-writer of Sergio Leone's Italian Western milestone "Fistful of Dollars", and as a writer of several sword and sandal films in the early 60s. As a director, Tessari's doubtlessly best films are his two intelligent and plot-driven Gialli, "L'Uomo Senza Memoria" (aka. "The Man Without Memory", 1974) and this gem. "Una Farfalla Con Le Ali Insanguiante" aka. "Bloodstained Butterfly" of 1971 is a terrific, beauty- and suspenseful example for a purely plot-based Giallo that profits from an excellent cast, a great score, wonderful settings and a sublime cinematography. As it is the case with Tessari's other Giallo, "The Man Without Memory", "Bloodstained Butterfly" is a Giallo that focuses on the Mystery more than the Horror-elements of the genre. And the film is indeed a perfectly constructed puzzle of a mystery that is (though convoluted) always easy to follow.

When a French exchange student (Carole André) is murdered by multiple stabbing in a park in Bergamo, the police arrest TV anchor Marchi (Giancarlo Sbragia). Marchi's daughter Sarah (Wendy D'Olive), who was friends with the murdered girl, does not believe in her father's guilt... As said above, this is a purely story-driven Giallo. For genre-standards, there are only very few murders and very little gore. The film is very suspenseful, however, and delivers mystery and innovative twists from the beginning to the end, as a good Giallo should. The beautiful Bergamo locations are a wonderful setting for the film, which is furthermore (in good Giallo-tradition) brilliantly photographed. The beautiful score intensifies the atmosphere, and the film profits from a very good ensemble cast. The characters are all complex and elaborate. The always-sinister Helmut Berger and Italian Grenre-cinema regulars such as Ida Galli ("The Case Of The Scorpion's Tail"), Günter Stoll ("What Have They Done To Solange"), Silvano Tranquilli ("The Black Belly of The Tarantula"), and Giancarlo Sbragia ("Tony Arzenta") all deliver very good performances. As said, for a Giallo this features little violence and gore and also little sleaze, but the magnificently elaborate plot should be more than pleasant to Genre-fans. "Bloodstained Butterfly" is beautifully filmed with a lot of style, and highly recommended to my fellow Giallo-fans.

I recently watched this movie first time and it hasn't everything that I was hoped for. Plot was too average, with some giallo twists, but too scattered. In one point, I thought movie turns out to be courtroom drama (it reminded me 'Sacco e Vanzetti'). Another thing I'm used to see in giallos is even couple of violent scenes. Lack of those (well there is some violence in the movie, but it isn't very graphical, when compared to eg. Dario Argento's or Lucio Fulci's giallos) made me very actually very unsatisfied with whole movie. Even so, movie wasn't all that bad. Soundtrack was more than nice and ending was very unpredictable. So, overall: 6/10

A middle aged male TV presenter is arrested and convicted of the murder of a 17 year old French girl in a park, however the killings continue.. Whereas many Italian giallo movies have plots that are over complicated or lack logic this one is easy to follow, it's quite straight forward, perhaps even a tad predictable, but that's good. That's not to say that it doesn't have the odd twist. I came into this film worried that the courtroom scenes may drag this film down but it doesn't. It's integral to the plot and, like everything else about this film, is well done. Beautifully filmed and superb musical score. There's a dash of humour regarding the investigating police office and his taste in coffee. Rated 15 in the UK, it may lack the bloodshed & nudity of other giallo that are rated 18 but this is a fantastic example of these movies, highly recommended. And watch it in Italian, not dubbed!

A French teenager is killed in a park. Within the first half hour of the movie, there's a man on trial for her murder, and the evidence is seemingly pretty good.

There are frequent flashbacks throughout the movie, depicting witnesses' recollections, or what the police think happened. This is not Rashomon territory, however, since the events shown are apparently as they indeed happened.

Incredibly, the man on trial for the murder is kept in a cage in the courtroom! Was this standard procedure in Italy? The jury would be predisposed to think of a person on trial being kept in a cell as guilty, I think.

I had some trouble following who some of the characters were. Also, the copy I saw was dubbed in English, but a quote in Italian in the opening credits, and Italian newspaper headlines and signs were not translated. Even a couple lines of dialog were left in Italian and not dubbed, for some reason. Additionally, while in widescreen, I had to use the zoom out function on my DVD player, because the extreme right and left were cut off. Some more of the picture could be seen this way, but the DVD itself did cut off the picture; e.g. during the opening credits, actor Helmut Berger's name appeared as "Helm Berg." This was on Luminous' DVD.

The ending was a bit disappointing. It also ends pretty abruptly, though I don't think this was a matter of anything having been cut.

Though Mario Bava had gotten the Giallo ball rolling in 1964 with "Blood And Black Lace" (though some may argue that it was really 1962's "Evil Eye/ The Girl Who New Too Much" that was really the first Giallo), it wasn't really until Dario Argento's 1969 masterpiece "The Bird With The Crystal Plumage" that started the Italian Production trend. But between 1970 to 1972 it was in it's full swing!

They must have been throwing these films out weekly! But Duccio Tessari's 1971 Giallo "The Bloodstained Butterfly" is a standout for many reasons. First it takes a slightly different approach in it's proceedings, anouncing the characters names like an Agatha Christie thriller. It contains a lush hypnotic soundtrack supplied by Gianni Ferrio (that blends out of a jarring Tchaikovsky number), that fits in snuggly with Ennio Morricone's doodlings (yet retains it's own originality). The entire cast is solid, with Helmut Berger's Giorgio (a pianist) going mental every time he hears Tchaikovsky, and Giancarlo Sbragia (the main suspect) looking timid (yet shifty) while trying to defend himself. Red herrings abound (everyone seems slightly guilty and slimey) the story weaves a web of perplexity until the surprising (or not so surprising if you've seen enough Giallos) climax. Dementia out of passion is called into explanation, and this is not just your regular moral avenger or greedy interloper Giallo. Beautiful Wendy D'Olive plays the daughter of the suspect (the only character who isn't dipped in slime), and one can't help but feel that this poor character will probably suffer a nervous breakdown at the end of the chaos. To give away the story would be a crime, because this is what keeps the interest jumping. Again the black gloved assassin is taking the lives of beautiful women, but this tends to feel like a more mature outing with restrained gore. The emphasis is placed on the convoluted, puzzling story. One thing that makes Giallo films so great is that it's stylized trash. Not simply just stalk n' slash fair (unlike so many of America's horror films of the time), but great detail is placed on locations, clothes, interior decoration, and music. Giallo films tend to seduce (before destroying) it's viewer with everything abound incorporating a lushous veneer.

"Bloodstained Butterfly" is a prime example of this asthetic. One of my favourite moments of the film is when Wendy D'Olive is taking a tram through the city, while Helmut Berger is driving his sports car right before their chance (or maybe it isn't?) meeting. The wonderful music glides you through the scene like an Italian daydream, only to drop you into a scene of suspicion. Highly recommended for fans of Italian Cinema!

'The Bloodstained Butterfly (1971)' is a quite unconventional. It's part Giallo thriller, part pseudo-Poliziotteschi procedural and part courtroom drama. It also doesn't really have a protagonist, rather a set of characters who are all introduced at the beginning - via title cards announcing their names - in a way that gives them equal weight and doesn't hint towards which ones will actually remain important (or alive) throughout the entire narrative. This isn't necessarily a bad thing, though it does make the initial portion of the movie feel a little bit messy. Because you're always sort of scrambling to figure out who you should root for, you're always on your toes. Nobody's really a 'good guy' here, either, and that helps to solidify this sense of, if you will, evolving audience-to-character alliances. When everything is underway, it's a rather compelling and convincing little thriller. The plot is filled with surprising reveals, many of which are thanks to its flashback-filled nature and the fact that it always plays its cards pretty close to its chest. A lot of it does rely quite heavily on exposition, but it's typically interesting enough to keep you engaged for its duration. This engagement is also enhanced by the picture's fantastic direction, which makes excellent use of unexpected angles and interesting shot compositions. The music combines with the visuals to create some really atmospheric sequences, too. Ultimately, this is a solid thriller with an unpredictable plot and stylish direction. It's occasionally a little dry, but it's usually engaging and enjoyable. 7/10.

This is a thrilling little mystery that should provide plenty of entertainment for the right audience. There are some compelling concepts, some memorable situations and characters, and a twist that feels fully earned. If you like mysteries and foreign films, "The Bloodstained Butterfly" is a safe bet.

"The Bloodstained Butterfly" has an interesting way of showing us the investigation of a crime, but it's characters are bland and uninteresting and there is nobody to root for. It isn't made amateurishly, but that barely helps to make the movie more interesting and you will be constantly checking the remaining time up to the movie's somewhat predictable finale. 6/10! I recommend the movie only to hardcore giallo fans, but the rest should avoid it.

A girl is murdered in a park. A suspect is tried and convicted but the killings continue.

The Bloodstained Butterfly is a giallo that occupies the more restrained side of the genre. Despite having a plot revolving around a series of knife murders, it doesn't really focus on these killings. One is shown briefly in flash-back, while the others are essentially committed off-screen. Instead, the narrative concentrates more on the mystery. For this reason it is on the more sober and intelligent side of the giallo genre. Quite a bit of the story is taken up with the police procedural angle and court-room scenes. And similar to many others in the sub-genre, an intense melodrama underpins the murder mystery; and, as is often the case, it's populated by a group of quite unsympathetic people. These are made up with the usual concoction of the psychologically troubled and the sleazily untrustworthy.

While the emphasis on melodrama and detective/courtroom dynamics might not be to everyone's taste, it works here. The mystery is compelling and you are kept guessing all the way. I can't say I predicted the outcome either, which is always a bonus. But in amongst all of this are some great typical giallo moments such as the opening scenes in the park with the killer making a get away shot from a number of nice angles. In general, as you might expect from this type of film it is photographed well throughout and has a good soundtrack too. It also has a somewhat unusual opening credit sequence where we are introduced to all of the main characters where they are shown with their moniker displayed on screen. This is quite good, as these films almost always have convoluted plot-lines and this helps ease us into proceedings with a quick look at whose who in the film about to start.

The Bloodstained Butterfly is overall a pretty involving mystery. It isn't a horror-orientated thriller at all though, so if that's what you're after you'd be best looking elsewhere. But it has the specific mood and essence that early 70's gialli have. If you're a fan of the sub-genre you should check this one out.

Duccio Tessari was a prolific Italian director, on the early 70' he made a silent incursion at giallo, this one doesn't have all elements from this genre, firstly just three murders as such, second few scenes of naked woman only, quite often shown in this kind, however has a dramatic and powerful acting at Court House, without tiring anyone, otherwise will be strenuous, quite opposite this were astouding, also has a well ellabored forence investigation by the policy, Helmut Berger has a shy acting really, he looks like shallow also absent-minded, the actress were far away to be bright indeed a bit cold to my taste, a Italian-German co-production has some strength at all, the final scenes show us an unexpected surprise, the mix of Germans and Italians in the casting let the picture rugged, Duccio Tessari was an underrated filmaker, hope it changes soon due his restored movie comes to light, notwithstanding expect it shall be done by my generation only!!!

Resume:

First watch: 2019 / How many: 1 / Source: DVD / Rating: 7.25

I just picked this little gem up recently and had the pleasure of finding out what a great film this is. I was unfamiliar with the director, and wasn't sure what to expect. The film is filled with clever camera work and symbolism. The soundtrack too is wonderful. I did not miss the mighty Morricone while watching this giallo. Morricone has scored many films like this and has created a style all his own for these sort of films. Even though I noticed some Morricone-like melodies, the score overall was original, with well placed moments of Tchaikovsky's piano concerto. If you have already seen all the Argento, Fulci and Bava giallos, then by all means do not miss this one!

Very fine, if slightly unusual giallo. Unusual in the sense that this is far more serious than one might expect and the 'in your face' violence is less evident. This might have made the film less fun, especially as there is a fair amount of time spent following police procedures, plus courtroom scenes! But, it all works and one is totally involved from the killing at the start. There is not a lot of death but we see this first one several times through different people's eyes and the film holds together remarkably well, helped along by a great soundtrack, some of it Morricone. The film moves at a very good pace and even the police comings and goings and the trial are handled very well and if the ending seems a bit abrupt I think that is because it really is a bit of a surprise. Excellent stuff and a very good intro to the wonderful world of giallo.

A young pianist, Giorgio, has kept his highly delicate happiness only by having his girl friend, Francoise, and therefore when someone stabs her to death at a park everything is badly changed. Although the police arrests a middle-aged man named Alessandro as the primal suspect of the murder case, Giorgio isn't and can't be satisfied with the judicial system itself any longer. But the whole situation becomes more complex when he meets a girl, Sarah, who is a daughter of Alessandro... This Italian film begins not only with the highly impressive music by Gianni Ferrio but also with the unusual visual introduction of its eight major characters, namely, Marta, Francoise, Sarah, Maria(mother of Sarah), Alessandro(husband of Maria), Giulio(lawyer), Giorgio, and Eriprando(father of Giorgio). Needless to say, Mario Bava did same kind of thing in his 1964 classic SEI DONNE PER L'ASSASINO, but in contrast to its expandability the introduction part of this film limits its own story and therefore one can easily expect the self-limited story is ongoing almost exclusively among the eight characters. Indeed one can even say every part of this film is trying to almost minimalistically exclude any kind of cinematic unexpectablity. And this seems to be one of the reasons why this film is not always loved by so-called Giallo lovers. Leaving from that question, this film is definitely not so-called Gestalt psychological and therefore one can and should realise that, at least in this film, not only music and/or musical event per se isn't and can't be emotion(s) but also music and/or musical event per se doesn't and can't have emotion(s); it merely indicates emotion(s). And this is the very reason why Giorgio chooses the unfamiliar gun instead of the familiar piano. Indeed I believe this anti-Gestalt-psychology, which does not allow for various players and/or listeners to have different emotional interpretations of the same music and/or musical event, is the most unique and powerful side this film has. And regarding the film's tile, THE BLOODSTAINED BUTTERFLY, has its own importance. Giorgio had given Francoise the present of a blue-butterfly-figured pendant. And when Francoise was murdered the butterfly was, at least symbolically, stained with her blood. And latter when Giorgio begins to take the law into his own hands the now-invisible-butterfly becomes to be stained not only with the problematic murderer's blood but also with Giorgio's own blood. I think this film as a whole is an almost unusually serious and realistically-oriented film with its own high-quality, whether it per se is Giallo or not.

A young woman is stabbed to death in a park, and the killer gets away. Soon, a suspect is apprehended and, after a lengthy trial, imprisoned for the crime.

However, the case is hardly open-and-shut, as we are introduced to characters with mixed motives, and made privy to certain facts that toss everything into confusion! Then, another murder is committed in a similar fashion, and someone begins taunting the police. This isn't the last homicide, either!

THE BLOODSTAINED BUTTERFLY is an excellent giallo, packed with suspense, mystery, red herrings, some unexpected twists, and a unique denouement!

Co-stars Helmut Berger as Giorgio, the rather strange son of a millionaire...

It has HUMOR too ! ( the police officer's continuous obsession with the perfect espresso-coffee, which he never gets is absolutely very funny ) And a MARVELOUS impressive H.Berger. Very fast pace. Concentrates on the way the police tries to catch the murderer. Great character development of all participants. Some subtle social comments on family and sexist behavour. Great pace. Lots of action , until the end I was left guessing about who/why. My rate is 10.