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Someone is the classic giallo uniform (hat, gloves, raincoat, stocking over the face) is murdering the adulterous wives of the upper classes and leaving pictures of their crimes at the scene. Try not to focus on the men in this situation getting off without punishment - just go with the flow.

A moustachioed Farley Granger is on the case, which quickly becomes a serial killer case when another unfaithful woman is stalked, in slow motion, on a beach, then slashed to death. Farley finds pictures scattered about that crime scene too, although the offending male always has his face scored out. Who could be putting paid to the pampered people of the pompous populace?

So everyone that's rich is knocking boots with each other, we find out as all the surviving ladies have a naked massage thing going on. Silvano Trinquili is having it off with his neighbour, whose husband is crippled, and when she's murdered, her husband stupidly falls down a flight of stairs and dies, which may be the most pointless random death in a giallo I've watched to date.

Oh, and there's the obvious red herring. Played of course by Luciano Rossi, this red herring is the guy who prepares the corpses - he loves running his hands over them and speaking to them and tells the policeman that they are at the most beautiful in this state. I think the character's name was Reddo Herringi.

Although it is packed full of naked women, the plot kind of plods along bumping off people here and there. The ending is a cracker however - one of those out of nowhere endings you get in Italian cinema (see Black Turin for another one I didn't see coming). This is one of those gialli that you'll get to once you've watched the more interesting ones.

It's the 1970s, so everyone is having an affair. It's Italy, so all the women are hot. It's a giallo, so there's a killer on the prowl, and he's targeting all those unfaithful beautiful Italian wives, mutilating their bodies with a knife and leaving behind evidence of their illicit behaviour. Farley Granger plays Capuana, the inspector on the case, whose investigation ultimately leads to a shocking personal discovery.

Roberto Bianchi Montero's So Sweet, So Dead is a textbook giallo, with a plot that offers up several suspects (although it's not too difficult to work out the identity of the killer), a big subplot that goes absolutely nowhere (beautiful Bettina witnessing the murder of her father's mistress), plenty of opportunity to ogle the very attractive actresses in the altogether, a touch of gore, and a killer who shops at Psycho Italiano, the boutique of choice for all serious Euro-maniacs (where they stock a complete range of trench-coats, fedoras, and leather gloves, plus the latest in black stocking masks and switchblades). Hell, there's even a bottle or two of J&B on show, and it don't get more giallo than that!

Even though the story is fairly routine, and the film lacks the visual style of the likes of Argento or Bava, the numerous kills and frequent nudity (babes in the buff include Femi Benussi, Krista Nell and Sylva Koscina) should keep most giallo fans happy for the duration.

6.5/10, rounded up to 7 for hilarious camp queen Cleopatra, for the surprisingly dark ending, and for having one of the longest Italian titles for a giallo that I am aware of (Rivelazioni di un maniaco sessuale al capo della squadra mobile - which is even longer than Il tuo Visio e una Stanza Chiusa e Solo io ne ho la Chiave AKA Your Vice is a Locked Room and Only I Have the Key).

'So Sweet So Dead' is an ultra-sleazy giallo flick directed by Roberto Bianchi Montero with a simple yet effective plot, good pacing, a lot of kills and tons of nudity. All the elements that you would expect from a decent giallo movie. But what holds this back from being a great genre entry is the lack of creativity within several elements of the kills and story, but it's still an enjoyable time.

The plot follows Inspector Capuana (Farley Granger) who is assigned to investigate the case of a serial killer who is murdering unfaithful wives and leaves compromising photographs of the women with their lovers at the crime scene.

I have heard good things about this and while I was certainly entertained throughout (mostly), it just feels like its missing that something special that could have really elevated this to classic status. Of the genre. The lead performance by Farley Granger was very uneven which is a shame as he's normally great in classics such as (Rope & Strangers On A Train), but here he just seems embarrassed to be here and feels very much phoned in. Not saying that this was bad or anything in-fact there was a lot to enjoy here such as the decent visuals with some nicely stylish shots, a good amount of tension and an awesome looking killer that will delight any fans of the genre.

Overall 'So Sweet So Dead' is good enough with a solid mystery, but the movie does lose its way in several areas and could have done with a bit more imagination and a stronger lead male performance.

The rap on this giallo is that it is especially moralistic and misogynistic; however,I found the first charge to be untrue and the other greatly exaggerated. A crazed killer is murdering unfaithful wives and leaving photographic evidence of their dalliances next to the bodies. This certainly SEEMS pretty moralistic. But the betrayed husbands don't come off any more sympathetically than the wives. Many knew about their wives' infidelities and/or were playing around themselves (one husband of a murder victim is himself having an affair with another murder victim). Moreover, the killer doesn't turn out to be motivated by vengeance. He is killing these women because he can get away with it, because their high society husbands will thwart the investigation of the beleaguered inspector(Farley Granger) at every turn lest they themselves be publicly exposed as cuckolds! This kind of deep cynicism is typical of later period gialli and Italian poliziani films, but there's nothing especially moralistic about it. Viewed in this way, even the final actions of the detective, which are certainly appalling and take away the only remaining likable and sympathetic character in the movie, are clearly more a final act of despairing cynicism than of righteous anger.

As for the misogyny charge, the raison d'etre of this movie seems to be to show a lot of attractive European actresses (Silva Koscina, Femi Benussi, Annabella Incontrerra, Nieves Navarro, Krista Nell) in various states of undress, and the filmmakers don't seem to care too much whether these women are alive, dead, or dying at the time. The movie lacks the flair, the garish delerium, and the stylized violence of better gialli, but it's not really all that different in it's attitude toward women--they're a decorative canvas for a painting of depravity and brutality. But just because the painting isn't very good doesn't make this film any more or less morally reprehensible than other gialli. In fact, the only really sympathetic character in the whole movie is the college-age daughter (Angela Covello) of one of the murder victims, who hilariously admonishes her boyfriend's "bourgeois politics" while he fumbles with the buttons on her blouse. The incompetent filmmakers, however, inexplicably drop this potential heroine halfway through. An appealing female protagonist would have done a lot to mitigate the lingering misogyny, but here this movie once again suffers from its own incompetence.

I'm not sure I've ever seen this and had got a blu-ray of Code Red from the US and was pleased that I got it. It is not brilliant but rather good and the dead girls are very naked for their killings. And rather nasty knifings they are, the killer is certainly in the classic style with black coat, big hat and of course black leather gloves. Roberto Bianchi Montero made many different films but I think this was his only giallo and was 65 at the time. Farley Granger is impressive and the girls lovely especially Sylva Koschina and I always love to see Nieves Navarro (Susan Scott). It was an interesting idea that the naughty girls get it and the end is really good as we get to see Farley looking on!

One of the things I like in the gialli is their mixture of sex and crime - you can have your thrills and watch at the same time beautiful women with scanty or no dress at all being pursued and killed - their eyes bulge in terror, they scream, their beautiful arms try to defend themselves and finally they lie still .... so sweet... so dead! Very politically incorrect, I know! But we can't deny that we all have our darker side - personally, in real life, I don't like violence, but in my imagination many things can happen - I can even fly!

Other attractive thing in the gialli is their sense of improvisation - as they are made mainly on a low budget, many times, friends and relatives are called to act in minor roles, or to work in the crew. This is why "So sweet, so dead" (Rivelazioni di un....) transmits a feeling of spontaneity. Scenes like a party in a house, friends playing volleyball etc. feel natural. There are also some comic touches added here and there and Luciano Rossi gives us his usual dose of weird humor. Women are getting undressed most of the time, and some, as soon as they undress, get killed. I think you already know the plot: A serial killer is murdering all the unfaithful wives in a well-to-do circle.

The final scene is somewhat shocking! It seems to condone the killer's feelings, if not his actions. If you take the film seriously, you won't like it. Take the film as it is, with its fast and active camera work, lots of female flesh and thrills, and you can't go wrong.

Accuse the film of misogynistic or of whatever you want. Explain me just one thing: Why is it that beautiful women from all over the world went to Italy to get barbarically killed in the gialli? Just answer me that. Enjoy!

"So Sweet So Dead" aka "The Slasher Is...the Sex Maniac" tells the story of a Italian detective Inspector Capuana who tries to catch an elusive serial killer entirely clad in black a la "Blood and Black Lace".The killer's victims are sexy and nude or semi-nude married women who cheat on their husbands.Our killer is a misogynistic slasher who enjoys stabbing his victims to death with a switchblade knife and throwing photos on their bloodied bodies.Along with Renato Polselli's "Delirium" "So Sweet So Dead" is one of the sleaziest giallos of early 70's.It features plenty of female nudity and some perverse murder scenes including one particularly nasty slashing on the beach.There is also truly bizarre necrophiliac character of pathologist's assistant Gastone.The cast includes Farley Grangers and some sexy Eurobabes including Sylvia Koscina,Femi Benussi,Annabella Incotrera,Nieves Navarro and Krista Nell.7 razor wielding maniacs out of 10.Feminists will love this film.

A long Roman Holiday: That's what washed-up actor Farley Granger and his lover Bob Calhoun spent over in Italy in the 70s, resulting in the most dreadful c-flick bummers of Granger's career. So Sweet, So Dead isn't the worst of the bunch, though also not exactly a Roberto Rossellini movie: A fiendish maniaco sessuale (see Italian title) is slashing adulterous women who by happy chance all give us eye candy galore before they meet their maker – the usual stupido giallo fare, this one despite the lousy exploitation script nonetheless now and again creating a crude indiscrete-charm-of-the-bourgeoisie feel, including the quite intriguing soundtrack by Giorgio "Musica totale" Gaslini culminating in atonal territory while accentuating a Scena Carnale Grande with Miss Drop-Dead Voluptous 1972, Nieves Navarro, getting up for a truly unfaithful ride. Breathless moments the movie can't live up to, the dichotomy between clothes-off and hats-off being a fair way wider than that between the Apollonian and the Dionysian.

This is yet another giallo helmed by a little-known director; the suggestive but actually deceptive original title, which translates to REVELATIONS OF A SEX MANIAC TO THE CHIEF OF THE MOBILE SQUAD, would lead one to believe that this is very low-brow stuff indeed – however, the end result (propelled by a pounding Giorgio Gaslini score) is not bad at all. Besides, there is a good cast on hand: the obligatory American 'star' is once again Farley Granger (looking remarkably more mature than in SOMETHING IS CREEPING IN THE DARK [1971]), but then we have what can best be described as cameos by "Euro-Cult" regular Silvano Tranquilli and three of its luscious starlets – Sylva Koscina (playing Granger's wife), Femi Benussi and Susan Scott; all the females are made to shed their clothes, with the latter two even involved in surprisingly explicit sex scenes! Incidenatlly, along with STRIP NUDE FOR YOUR KILLER (1975; also with Benussi), this was the most erotically-oriented genre effort I have watched so far; in fact, the movie under review was subsequently re-assembled and distributed as outright hard-core material under the moniker PENETRATIONS (but Granger understandably – and successfully – sued the producers over it)! The plot sees the traditional black-gloved killer targeting a small town's apparently unending population of cheating wives (leaving as calling-card photos of them caught in flagrante, albeit with their respective partners' face clinically erased); in this respect, it also emerges as one of the more moralistic giallo entries (at least, this time around one is spared the usual pursuit of the proceeds of either an inheritance or an insurance policy!). By the way, the film even foregoes the last-minute explanation of the killer's motives which concludes (unsatisfactorily) many a giallo – though, in view of just this unexpected striving for satirical relevance (which proves rather vapid nevertheless, given the sheerly exploitative elements by which it is surrounded), here was perhaps a case where one would have liked to know what made this particular person tick (a gratuitously deranged morgue attendant had been made to fit the bill all along, but the real culprit was not too far off the mark anyway)!!

An interesting addition to the Giallo genre. Most commentators have concentrated on the apparent misogyny and gratuitous nudity as well as the unfortunate version with porno inserts (which I haven't seen). I'm not sure about the first criticism and as to the second aspect it's an integral part of Giallo. Why else would most of us sit through badly dubbed plodding dialogue and awful acting except for the occasional glimpse of the unadorned form of Babara Bouchet or Sylvia Koscina? To mind my far more interesting is the political undertone referencing the corruption of the upper classes in 1970s Italy which is in tune with "respectable" movies such as 'Investigation of a Citizen Above Suspicion' and 'Illustrious Corpses'. I wouldn't want to spoil the movie for those haven't seen it, but there are also definite similarities with later efforts such as 'Dressed to Kill' and 'Seven'.

In the Giallo catalogue, I'd put this up with 'Don't Torture a Duckling'. Not as flashy as Argento, but it has something. My DVD is I think a video transfer. Maybe time for a proper digital version?

I was looking for another Sylva Koscina movie to watch last night and stumbled across a Giallo she did that I had never seen. So Sweet, So Dead turned out to be a rather predictable, but highly enjoyable film. The set-up is straight out of the Giallo playbook - a masked, gloved killer is butchering beautiful women. Each of the women is involved in an extramarital affair. The killer leaves pictures of the women with their lovers at the scene of each murder. The police, led by Inspector Capuana (Farley Granger), are baffled.

I wrote that So Sweet, So dead was predictable. That's to say there's not a lot of originality to the movie. The masked killer, the beautiful women, and the knife to the throat are standard fare in most any Giallo. Until the very end, the movie plays it reasonably straight without a lot of the plot twists and turns found in a lot of other Gialli. That all changes, however, in the last 10 minutes. The plot twist at the end is incredibly dramatic and left me with an uneasy, cold feeling. It completely caught me off guard. The twist was really a nice turn of events. I also want to give director Roberto Bianchi Montero (unknown to me) extra credit for creating atmosphere. For a movie like So Sweet, So Dead to be effective, you have to have atmosphere. Montero expertly ramps up the tension just prior to each kill. Nicely done.

The cast is especially strong. Granger is very good. I've always found him underrated in any movie of his I've seen. Koscina is as delightful as ever. I only wish she had played a more prominent role in more of the movie. There are a lot of gorgeous women rounding out the cast, including a brief, but welcome performance from genre fav Susan Scott. I say "brief" because she shows up, has sex, and promptly gets killed. Not a lot of screen time in this one for her.

"The Slasher" has a pedestrian plot of multiple murders of beautiful married women who cheat on their husbands. Not only is the lovingly rendered pictorial dwelling on their naked bodies both before and after death disturbingly unnecessary, this distasteful film's message seems to be that women who are unmarried can be acceptably promiscuous. However, once they are married and continue to be promiscuous they deserve death. Not so the husbands, whether condoning it or ignorant of it. They can have as many affairs as they want without any disapproval. What decadent hogwash! The sole redeeming feature of this film is the chance to see expatriate Farley Granger in a lead role at 47, and he looks good, even with the mustache. Unfortunately he's way too expressive for the one-note role he's given here. A year later, he looks even better in the comedy thriller "Arnold" in which he ironically gets bumped off in a nude shower scene in an odd reversal of "Psycho" ."

The Slasher Is the Sex Maniac (So Sweet, So Dead (Italian: Rivelazioni di un maniaco sessuale al capo della squadra mobile) - 1972 (This Film Rates a C+ ) The films starts off with a nude woman who was already fatally slashed in the neck. There are photographs scattered around her body, Inspector Capuana is sent to investigate the murder. The initial suspects include prostitues, "pimps and whores", transvestites and homosexuals. Meanwhile, the masked killer takes photographs of a couple having sex and that night murders a woman who is having an affair with a married man. At the morgue the doctor recounts how the woman died as the creepy assistant fondles the dead womens breasts. He also takes pictures of their breasts and gets excited over them. Infact, he shows them off to the inspector. Now, the assistant is the primary suspect. The doctor suggests that the murderer most likely is a jealous homosexual. Impetient. The bodies start piling up with no viable leads. The morgue assistant confesses to the murders which are publiscide and makes the real killer angry. He phones threatening the inspectors wife. "You have no idea where your wife meets her lover". But who is the masked killer and why? There is lots of sex, nudity and sleeze. The gore is hit or miss with some effects being too dark to appreciate though it has some intense brutality. Sadly, the story seems to drag on a bit. The acting and script are typical and below average with no real highlights. The title seems to be the most exciting part of the film.

Since Senso Farley Granger perceives that move to Europe should be an answer to get better roles and even in top billing casting, due in America he already lost space among newest stars, has been invited just for TV movie and Series as guest star, at Europe through his strong name from the past he got interesting projects has been paid according his status.

An unnamed small city at Italy a corpse of a married woman is found dead by throat cut and several cuts on the breast and thighs also many photographs were left there where it proves that such young woman was betraying his husband, although the face's lover was erase for all them being impossible pinpoint the lover.

According the local coroner Prof. Casali (Chris Avram) reasserting that the throat cut is the cause of death, soon Inspector Capuana (Farley Granger) reaches at local of murder to find out a clue, due he is in charge of the case, no fingerprints is found, actually a clean murder indeed.

After the second murder, the patten is the same, an unfaithful wife cheating on his husband and the photographs left at crime scene proving the betrayal once more the face of the lover scratched, Inspector Capuana wondering that is dealing with a kind of moralist serial killer, or something like that.

Also there are not any connection with their husband at all, due they had strong alibi whereby all them were far away where the crime were committed, worst no lovers were identified, thus Inspector Capuana throws his last trump card to catch the serial killer, that already has in mind his next victim the unfaithful wife of own inspector Capuana his beloved Barbara (Sylva Koscina).

The screenplay provides bountiful nude scenes with sexy women scattered along the movie, a sort of decoy to grab eagers cinephiles on those hot girls, including the star Sylva Koscina, concerning in the plot at my point of view the writers concealed on purpose some key hints to the audience, have some missing scenes whereof just Inspector Capuana knew previously, somehow it could be understood as mendacity, wasn't fair enough to us, under such too much knavery it 's a crying shame for them, even so a fine Giallo.

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First Watch: 2023 /How many: 1 /Source: DVD /Rating: 7.

Average Giallo

Rather predictable and straight forward film. A bit more erotic and cynical than some giallo. But the overall plot, serial killings, and detective work is nothing special. Nothing stood out about the acting or cinematography. It is quite dark and cynical.

I recently watched the Italian giallo 🇮🇹 The Slasher is a Sex Maniac (1971) on Tubi. The storyline follows a serial killer who targets cheating wives, leaving evidence of their infidelities on their corpses. The detectives on the case are left wondering how the killer obtains these incriminating photos-and whether they can stop him before he strikes again.

Directed by Roberto Bianchi Montero (The Island Monster), the film stars Farley Granger (Strangers on a Train), Sylva Koscina (Hercules), Silvano Tranquilli (The Bloodstained Butterfly), Annabella Incontrera (The Case of the Bloody Iris), and Angela Covello (Torso).

This movie had a lot of potential to stand out in the giallo genre but ultimately missed the mark. The premise is intriguing, and the film features stunning women, plenty of nudity, and above-average stabbing scenes. The corpses are also well-executed in terms of effects. However, the quick, abrupt cutaways during the stabbing scenes were frustrating and took away from the tension. Better practical effects could have made these moments more impactful. The killer's mask shots felt underwhelming, though a fun stairwell fall scene did make me smile. Unfortunately, the killer's reveal was also a letdown.

In conclusion, The Slasher is a Sex Maniac is an average giallo that could have been much better with stronger execution and more effective practical effects. I'd give it a 5.5/10 and would only recommend it to diehard fans of the genre.

There's something that makes this seem like a 1969 or early 70s daytime soap opera. I have no idea who is complaining about the nudity or misogyny in this flick because I find it relatively tame for a giallo. I laughed at out loud at "how will we find all the impotent men in town? Advertise?" If anything The Killer...is the Sex Maniac! Has various goofy men like the grumpy disabled husband and the apparent necrophiliac who lacks a wife, or any sort of life to speak of. Sure the victims are cheating wives, but there's clearly some cheating menfolk here too. Also, everyone is rich so it's more of an attack on the amorality of the bourgeoisie than on young feminists or something.

It has almost an English murder mystery quality to it rather than being excessively violent or exploitative. It's not the most beautiful giallo I've ever seen or with the best atmosphere but it has that comforting mid-century control over chaos I seek in nighttime viewing.

I love this movie. The first time that I saw it was when I was a little girl, around 9 or 10 years old. The storyline is great: a killer who targets women who have been unfaithful to their husbands. It is unfair that the killer does not target unfaithful men, but hey, this is a giallo after all. It's funny because I am pretty sure that I only like this movie because I watch it in Italian, and that makes it exotic to me. If it were an American movie, I would probably not like it as much. Farley Granger is quite handsome, even more so than in "Strangers On A Train". There is a red herring that I found predictable, but I've been watching horror films for most of my life, so I often guess correctly what's going on. I knew who the killer really was long before it was revealed. I found the ending quite sad though. It would have been nice to have a different outcome. At least this giallo doesn't have the graphic violence that some of it's contemporaries have.

Having seen over 100 gialli at this point, it's pretty hard to impress me. I've seen most of the good ones, and the ones farther down the list tend to be interesting for the cast or photography or a neat plot twist, but lacking in some way. 'Rivelazioni di un maniaco sessuale al capo della squadra mobile' aka 'So Sweet, So Dead' aka 'The Slasher is...the Sex Maniac!' is actually a top tier giallo.

First off, the cast is full of giallo regulars, like Silvano Tranquilli, Nieves Navarro, Annabella Incontrera and the always creepy Luciano Rossi. American actor Farley Granger delivers a superb performance as the cop tasked with tracking down a serial killer. I've seen him in several gialli, and have never been convinced by his characters, perhaps because he always plays a bad guy, like 'Amuck!' and 'Something Creeping in the Dark'. This time around, he's believable, truly a complex, conflicted and sympathetic character.

The craft is all around solid. Camerawork that tells the story effortlessly without getting too tricky. A memorable soundtrack and theme, fitting for the film. Some suspenseful scenes. Acting spot on.

While some may complain that it sticks too tightly to the genre formula (masked killer wearing gloves kills women, but who could it be?), I found there were ample red herrings to keep me intrigued and the payoff was totally unexpected.

Following a brutal crime spree, a police detective investigating a strange killer targeting unfaithful wives and adulterous spouses finds that a potential witness may help solve the case and tries to protect her when the killer starts to torment her while continuing his spree.

This was quite the fun if slightly problematic sleazy Giallo. One of the more impressive acts here is the fact that there's a decent investigation wrapped around the strong sleazy thrills. With the introduction of the photography storyline in the crimes and using that as the main basis for catching the culprit, this one offers up the kind of traditional Giallo trope needed to drive the storyline forward with some extra notes that lead rather nicely based on the confines of the action here especially once it starts to signify the killers' chosen targets as that is a nice difference from most others who go for random victims at the start before the spree is found out. This addition makes for some fun as it builds that up into the remaining segments that play off this section of the storyline. Those stalking scenes are really fun, from the first encounter chasing the victim onto the beach from her apartment, appearing in the bedroom of the victim and chasing her into the bathroom for the final murder or to the tense sequence of the wife getting ambushed inside the backyard and ending up having the whole affair witnessed secretly by the daughter which is a rather enjoyable highlight offering. A dispatch on a train speeding through the night is incredibly fun as well with the darkened compartment hiding the killer rather well, and a later scene featuring the killer striking a victim in a bathtub only to then have the husband arrive and alter his exit strategy makes for a thoroughly enjoyable and tense sequence. As these scenarios allow for a constant stream of nudity and softcore fondling in showcasing their carnal exploits before the nude bodies are shown to be hacked to pieces, it gives this a rather fine sleazy air which all make for a rather fun genre effort. There are a few problems with this one, though, in that the film mainly employs a rather distressing hypocritical air that doesn't come off that appealing. Going off on the idea that the victims are being punished for straying from their husbands, a double-standard emerges when the male characters are also shown to be doing the same thing yet they never run into any kind of retribution because of it. Depicting them as heartless and needing to pay for their actions yet allowing the men to be okay with it gives it quite an old-fashioned air and tone that openly condemns their actions even though all the extramarital affairs are given loving, leering close-ups to see their full-on nudity. It's not a very welcoming tone for a horror effort and takes a lot of air out of the film as well as the fact that there's quite a long time in between many of these deaths as the investigation takes over to the point of ignoring a lot of other aspects here that don't make for an enjoyable time here. These hold it back even though it does have some worthwhile points.

Rated X: Continuous Full Nudity, strong sex scenes, Graphic Violence and Language.