Perché quelle strane gocce di sangue sul corpo di Jennifer? (The Case of the Bloody Iris) Reviews

  • Aug 21, 2020

    THE CASE OF THE BLOODY IRIS / PERCHÉ QUELLE STRANE GOCCE DI SANGUE SUL CORPO DI JENNIFER? This is a good Giallo without a lot of gore and is a respectable murder mystery. It has some pretty good, sometimes even cute humor scenes that really helps this film along nicely and probably strengthens it where it has some weaknesses. With a great performance by Edwige Fenech, (who I could watch all day long,) it is certainly worth a look!

    THE CASE OF THE BLOODY IRIS / PERCHÉ QUELLE STRANE GOCCE DI SANGUE SUL CORPO DI JENNIFER? This is a good Giallo without a lot of gore and is a respectable murder mystery. It has some pretty good, sometimes even cute humor scenes that really helps this film along nicely and probably strengthens it where it has some weaknesses. With a great performance by Edwige Fenech, (who I could watch all day long,) it is certainly worth a look!

  • Sep 23, 2015

    Fantastic, slow burning, beautiful and above all captivating.

    Fantastic, slow burning, beautiful and above all captivating.

  • Jul 25, 2015

    Stylish, alluring, and agreeable, "The Case of the Bloody Iris" is a straightforward giallo less notable for its dextrous offings and more for leading lady Edwige Fenech, the inarguable queen of the genre. While never reaching the orgasmic heights of other masterpieces of the era (most helmed by Dario Argento and Mario Bava, of course), "The Case of the Bloody Iris" is still a splendidly fun (albeit gory) murder mystery that embraces its ridiculousness and makes up for convoluted time with sophisticated design and worthy blood-soaked set pieces. It's an admirable time waster, a slasher dressed to the nines in pre-De Palma swank. As in all gialli, a gloved killer wrapped in sharp black is mercilessly butchering physically beautiful young women for kicks, this time in a luxurious high rise apartment. Days after two women are murdered in a twenty-four hour period, models Jennifer (Edwige Fenech) and Marilyn (Paola Quattrini) move into one of the victims' apartment, hardly worried about the room's sordid past. "Life goes on," Marilyn scoffs, as if wishing to jinx herself into murder mystery oblivion. But it doesn't take long for the pair to realize that such things can hardly be laughed off, especially when considering the building itself seems to contain a number of shady characters easily able to commit such heinous acts. Suspects include a stereotyped lesbian neighbor, a misogynistic old woman that lives with her disturbingly deformed son, and even Jennifer's love interest (George Hilton), an architect with a crippling phobia of blood. And it doesn't help that Jennifer's maniacal ex-husband (Ben Carra) enjoys spending his days stalking his former wife instead of making a living. In order to fully enjoy "The Case of the Bloody Iris", one must disregard the horrendous dubbing, the severely stiff performances, and the regularly asinine script - because this is a film about style and Edwige Fenech, not much else. (Those expecting the normal amount of generous giallo gore will be sorely disappointed.) The first murder is exquisitely shot - with hardly a word of dialogue to spare, it follows a comely blonde from a telephone booth to her apartment building's elevator, where she winds up slashed to death after the passengers depart one by one. Clearly inspiration for Angie Dickinson's gruesome offing in "Dressed to Kill" (which is miles better), the scene sets the tone of the film: absurd but competently suspenseful. Because much of the film is absurd - Jennifer's religious cult backstory is unneeded and contains a gratuitous orgy scene (hardly graphic) more laughable than tantalizing, and her bad habit of wandering away from safety in a time of danger is maddening - but, for the most part, "The Case of the Bloody Iris" classes it up while later '70s peers of the "Black Christmas" mindset didn't. It cares more about how it appears than how it builds intellectually, so thank God it looks like the chic second cousin of "Blowup" or some other mod infused character study. Best of all is Edwige Fenech: never have I seen her in one of her famous gialli (those were directed by Sergio Martino, and I'm still in the process of trying to find a copy to view), and this film gives an idea as to why she is an underground legend. With her cat eyes, voluptuous figure, and jet black hair, it's impossible not to stare at her, mouth agape and all. One can hardly call her a fine actress, but Fenech has presence, a characteristic hardly found in other giallo women like Barbara Bouchet or Ida Galli. The camera clings to her composure almost passively; she can turn a poorly executed scene into a work of art by merely acting as its center. Maybe her films with Martino are better, but "The Case of the Bloody Iris" is a giallo minor but palatable.

    Stylish, alluring, and agreeable, "The Case of the Bloody Iris" is a straightforward giallo less notable for its dextrous offings and more for leading lady Edwige Fenech, the inarguable queen of the genre. While never reaching the orgasmic heights of other masterpieces of the era (most helmed by Dario Argento and Mario Bava, of course), "The Case of the Bloody Iris" is still a splendidly fun (albeit gory) murder mystery that embraces its ridiculousness and makes up for convoluted time with sophisticated design and worthy blood-soaked set pieces. It's an admirable time waster, a slasher dressed to the nines in pre-De Palma swank. As in all gialli, a gloved killer wrapped in sharp black is mercilessly butchering physically beautiful young women for kicks, this time in a luxurious high rise apartment. Days after two women are murdered in a twenty-four hour period, models Jennifer (Edwige Fenech) and Marilyn (Paola Quattrini) move into one of the victims' apartment, hardly worried about the room's sordid past. "Life goes on," Marilyn scoffs, as if wishing to jinx herself into murder mystery oblivion. But it doesn't take long for the pair to realize that such things can hardly be laughed off, especially when considering the building itself seems to contain a number of shady characters easily able to commit such heinous acts. Suspects include a stereotyped lesbian neighbor, a misogynistic old woman that lives with her disturbingly deformed son, and even Jennifer's love interest (George Hilton), an architect with a crippling phobia of blood. And it doesn't help that Jennifer's maniacal ex-husband (Ben Carra) enjoys spending his days stalking his former wife instead of making a living. In order to fully enjoy "The Case of the Bloody Iris", one must disregard the horrendous dubbing, the severely stiff performances, and the regularly asinine script - because this is a film about style and Edwige Fenech, not much else. (Those expecting the normal amount of generous giallo gore will be sorely disappointed.) The first murder is exquisitely shot - with hardly a word of dialogue to spare, it follows a comely blonde from a telephone booth to her apartment building's elevator, where she winds up slashed to death after the passengers depart one by one. Clearly inspiration for Angie Dickinson's gruesome offing in "Dressed to Kill" (which is miles better), the scene sets the tone of the film: absurd but competently suspenseful. Because much of the film is absurd - Jennifer's religious cult backstory is unneeded and contains a gratuitous orgy scene (hardly graphic) more laughable than tantalizing, and her bad habit of wandering away from safety in a time of danger is maddening - but, for the most part, "The Case of the Bloody Iris" classes it up while later '70s peers of the "Black Christmas" mindset didn't. It cares more about how it appears than how it builds intellectually, so thank God it looks like the chic second cousin of "Blowup" or some other mod infused character study. Best of all is Edwige Fenech: never have I seen her in one of her famous gialli (those were directed by Sergio Martino, and I'm still in the process of trying to find a copy to view), and this film gives an idea as to why she is an underground legend. With her cat eyes, voluptuous figure, and jet black hair, it's impossible not to stare at her, mouth agape and all. One can hardly call her a fine actress, but Fenech has presence, a characteristic hardly found in other giallo women like Barbara Bouchet or Ida Galli. The camera clings to her composure almost passively; she can turn a poorly executed scene into a work of art by merely acting as its center. Maybe her films with Martino are better, but "The Case of the Bloody Iris" is a giallo minor but palatable.

  • Feb 28, 2015

    Below average Giallo thriller with Jennifer moving into an apartment building where beautiful young women are being murdered.

    Below average Giallo thriller with Jennifer moving into an apartment building where beautiful young women are being murdered.

  • Dec 13, 2014

    Pretty straight forward for a giallo plot wise with some stunning camera angles and handheld work, although it's glaringly obvious who the killer is!

    Pretty straight forward for a giallo plot wise with some stunning camera angles and handheld work, although it's glaringly obvious who the killer is!

  • Sep 12, 2014

    A diamond that i've been slipped for a long time, but eventually i've had the pleasant opportunity to watch it last night...Italian masterpiece!

    A diamond that i've been slipped for a long time, but eventually i've had the pleasant opportunity to watch it last night...Italian masterpiece!

  • Jan 15, 2014

    While the overall story is a bit implausible, the liberal use of Edwige Fenech is always cause for celebration, and this is well worth a rental if only to see her being cute and sexy in a vintage setting. Well worth a rental.

    While the overall story is a bit implausible, the liberal use of Edwige Fenech is always cause for celebration, and this is well worth a rental if only to see her being cute and sexy in a vintage setting. Well worth a rental.

  • Aug 11, 2012

    Nothing's more deadly to these sexy not to bright socialite models in these Giallo's then living in a sweet penthouse pad.

    Nothing's more deadly to these sexy not to bright socialite models in these Giallo's then living in a sweet penthouse pad.

  • Mar 31, 2012

    Giallo fever: A middling but competently directed 70's slice of sexy suspense. Oglers of genre beauty Edwige Fenech won't complain.

    Giallo fever: A middling but competently directed 70's slice of sexy suspense. Oglers of genre beauty Edwige Fenech won't complain.

  • Lee ? Super Reviewer
    Dec 15, 2011

    Very good Giallo with a fun side to go with it's viciousness. It's a typical generic example of the sub-genre but it does everything so well to elevate it above many others. Good pacing, violent deaths, likeable characters, plenty of suspects, georgeous women and some bare flesh. One of my favourite Giallos!

    Very good Giallo with a fun side to go with it's viciousness. It's a typical generic example of the sub-genre but it does everything so well to elevate it above many others. Good pacing, violent deaths, likeable characters, plenty of suspects, georgeous women and some bare flesh. One of my favourite Giallos!