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In the 1971 Italian giallo thriller "The Black Belly of the Tarantula," we meet a very unusual policeman, Inspector Tellini. He is unusual, insofar as these gialli are concerned, because he's unsure of himself, not certain if he should stay with his job, and makes many mistakes. Then again, his adversary here is a bit unusual, too: a killer who paralyzes his victims with an acupuncturist's needle in the back of the neck before ever so slowly (and excruciatingly...for this viewer, anyway) slicing their abdomens open. For the life of me, I could not figure out where this picture was headed or what it had on its mind; forget about figuring out the identity of the killer! Thus, I just sat back and enjoyed the ride, and was pleased when everything did congeal, plotwise, at the end. And there ARE many things to enjoy here. Tellini is played by Giancarlo Giannini, a year before he would commence a string of some half dozen hits with director Lina Wertmuller that would catapult him to international stardom. He is as fine an actor as has ever appeared in a giallo film, and he is here surrounded by some truly gorgeous women, including no less than three former/future Bond girls: Barbara Bouchet (whose exposed, superperky buttocks automatically earn this film 5 stars!), Claudine "Domino" Auger and Barbara Bach, here looking younger than I've ever seen her. Other things to enjoy: a creepy, arrhythmic, discordant score by the great Ennio Morricone, flashy direction by Paolo Cavara, some good action scenes (I love that three-way rooftop chase) and, like I mentioned, a meaty story to sink your mental teeth into. Not to mention those grisly murders! Don't believe the Maltin book, which gives a paltry 1 1/2 stars to the cut, 88-minute version of this film. Check out this fine-looking, uncut DVD from Blue Underground, with excellent subtitles and extras, for a unique and exciting giallo experience.

In 1999, these films were impossible to get a hold of, and you had to look hard to find someone who would sell you them on the grey market. It is for this reason that my mate Marco and me found ourselves in the back room of some video store on Ingram Street, Glasgow city centre, staring into a filing cabinet jam packed with video nasties, category 3 Hong Kong films, and otherwise unavailable films like this. Marco bought this one. I watched the first five minutes and decided it looked boring, little knowing how obsessed by these films I'd be in a few years time. Also, I had no idea how bald I would become. And I didn't know YouTube would exist either. We were all young and naïve back then.

If there was a generic starters pack for giallo newbies I'd definitely include this one. It's a straightforward giallo plot as in it has one masked/gloved/hatted killer, plenty of suspects, a couple of red herrings, a clue at the start of the film, quirky characters, nudity and a bit of gore. It doesn't deviate from the formula but it's a good film anyway, thanks to Ennio Morricone's music, the lovely cinematography, and some good moustache action from Giacarlo Giannini.

It all starts off with Barbara Bouchet (a Bond girl) getting a nude massage from a blind guy and then getting into a fight with her husband because someone's sent him a nude picture of her with a mystery man. Next thing you know some gloved killer has paralysed her with a needle, then cut her open while she can only watch in horror.

Depressed policeman Giancarlo Giannini (whose eccentric wife has sold all the furniture in the house!) is on the case, and thinks the husband did it, but when another victim appears and he uncovers a drug smuggling ring into the bargain, things heat up a bit. It doesn't help that he's the laughing stock of the force when the killer plants some evidence that turns out to be a covertly made film of the policeman and his wife in bed.

There's a neat rooftop chase in this one too, and although it's a case of one killer all the way through, it makes for a good journey all the way through, thanks to appearances by Claudine Auger (a Bond girl) and Barbara Bach (a Bond girl) and Giancarlo Prete (not a Bond girl). There's also the requisite scene in a fashion store amongst mannequins that these films seem to require by law.

La tarantula dal ventre nero is a nice Giallo dealing with a a series of victims being paralyzed by injecting a poison and then their corpses ripped open while they still alive. Inspector Tellini, Giancarlo Giannini, investigates the murder of a nymphoniac : Barbara Bouchet, then other astonishing series crimes are carried out much in the same as tarantulas are killed by the black wasp. There are various suspect people : a husband and insurance broker as prime suspect : Silvano Tranquilli, a drug dealer, a lover, a massage parlor owner, a blind person, a saleswoman and the clues lead to a sauna. With the needles dipped in deadly venom the victims are paralyzed, so they must lie awake and watch themselves die!

Decent Gialli with well-shot heinous murders , thrills, chills, red herrings, and suspense. This intrigue film contains usual Giallo ingredients : a killer with gloves, barroque style, unsettling and disturbing interiors and sadistic and ritualized murders. Here the main interest resides on finding out the murderer and to see the surprising victims being paralyzed by accupunture needles with deadly venom introduced in their necks and bellies being ripped open with a knife .This is one of several Gialli regarding an animal in the script and its title similar to other Dario Argento films as The bird with crystal plumage, 4 mosche develluto grigio, The cat of 9 tails or La coda dello Scorpione by Sergio Martino. Here stands out some notorious Italian actresses as Stefania Sandrelli, Annabella Incontrera, Rosella Falk and Bond GIrls : 3 young beauties as Barbara Bach who married Ringo Starr and played The Spy who loved me, Barbara Bouchet of Casino Royale and the recently deceased Claudine Auger of Thunderball.

Stirring and haunting musical score by prolific Ennio Morricone in the Seventies style, including voicalists exhaling mysterious sounds. As well as colorful and brilliant cinematography by Marcello Gatti. The picture was professionally directed by Paolo Cavara. He was a good filmmaker who made a few films until his early death at 56 . At his beginning he directed Mondo films as La donna nel mondo, 1962. Then he directed all kinds of genres as comedy, terror, thriller, Spaghetti Western and mystery, such as La Locandiera, Virilita, The Ravina, Plot of fear and Johnny Ears and Deaf. Rating 6/10. Acceptable and passable Giallu.

My God! The opening scene alone is worth the price of admission! Barbara Bouchet being given a nude body massage while Ennio Morricone's score (hightened by Edda Del Orso's seductive vocals) explores our aural senses is nearly the best opening I've ever seen... period! Paolo Cavara's brilliant Giallo "The Black Belly Of The Tarantula" is definately special. The film contains a beautiful (Euro Babe) cast, that would please James Bond afficianados everywhere. It contains three Bond Girls in one film! The wonderful Claudine Auger ("Thunderball"), Barbara Bouchet ("Casino Royale"), and Barbara Bach ("The Spy Who Loved Me"), all lending shady perversity to the proceedings. The title refers to the sadistic means in which a killer is performing on his prey. An acupuncture needle is inflamed with a paralysing poison that the killer inserts into the neck of his victim (realistically, this would probably kill someone, but hey... this is an Italian B Movie!!) thus insuring that the victim is paralysed yet concience while the killer tears open their belly with a knife (eehhh...hella creepy!). The story primarily surrounds the investigation by Inspector Tellini (well acted by Giancarlo Giannini) of the murder of Maria Zani (Barbara Bouchet) who was being blackmailed before her death. Other murders follow, as the Inspector's trail leads to a Fashion Boutique, a Science Laboratory, and then a Health Spa, which are all linked to drug traffiking and sexual deviant politics. Like "What Are Those Strange Drops Of Blood Doing On Jennifer's Body" this film as well could be a kind of prototype Giallo film. If you are familiar with the genre, you can only laugh at the way the victim always says to the Inspector "I can't talk right now... but I think I know who the killer is. Come back later (or tomorrow), and I'll tell you. (another equally laughable sentence is: "I just want to check something out, but I'll meet you later!) This line is usually a recipe to get yourself gutted and tortured in the most painful of ways. Also, like "What Are Those..." this film again has the theme of moral avenger (quite often this theme is linked with something resembling impotence... c'mon you got to laugh at that!) that strikes out on the poor girls with viciousness. I'm still trying to sort out if this is somehow linked to the cynicism surrounding Catholicism in Italy? But the killer's use of fetishistic surgical gloves only insures that this is pure Euro-Trash at it's best.

Giancarlo Giannini's Inspector Tellini is a slightly different breed of cop. The film interestingly delves further (then most Gialli) into the relationship of him and his wife Anna (played by the beautiful Stefania Sandrelli), and the moodiness surrounding his job. He neurotically says "I just don't think I can do this anymore. I want to quit." (echoing my own displays of verbal discontent in the work world, as my girlfriend pointed out) And in the end when Inspector Tellini loses his cool, as the killer gets closer to getting to his wife!

This is a great little Giallo, which unfortunately is a tad hard to find in America. But I nevertheless highly recommend it to those who love weird and twisted little masterpieces that come from a country of machisimo mentality. And the music score is to die for!!!!

When the nymphomaniac Maria Zani (Barbara Bouchet) is murdered, her ex- husband and insurance broker Paolo Zani (Silvano Tranquilli) becomes the prime-suspect of Inspector Tellini (Giancarlo Giannini). Then the saleswoman Mirta Ricci (Annabella Incontrera) is murdered in the same modus operandi – both victims had been paralyzed by acupuncture needles with poison introduced in their necks and their bellies had been ripped open with a knife with the victims still alive, in the same way that tarantulas are killed by tarantula hawks. The police find that she was also a drug dealer,

Paolo meets Inspector Tellini to tell him that he is innocent. Further, he hires the private eyes La Catapulta that finds the last man that had met Maria, the photographer Mario (Giancarlo Prete). Paolo pursues Mario but they both die and Inspector Tellini finds an envelope addressed to Franca Valentino with Mario. Inspector Tellini discovers that he was a blackmailer and meanwhile Franca becomes the third victim of the serial killer. When the masseuse Jenny (Barbara Bach) is found dead wrapped in plastic bag, Inspector Tellini goes to the massage parlor to meet the manager Laura (Claudine Auger) and he believes that an employee may be the serial-killer.

"La Tarantola dal Ventre Nero" is a great "giallo" with the typical structure – a serial-killer that wears gloves and the identity is only discovered in the end; the victims are beautiful semi-naked women; gore deaths; a persistent detective pursues the killer; and wonderful music score.

The story is well developed, with many plot points. The very young Giancarlo Giannini works with very beautiful women, three of them future Bond girls (Claudine Auger and the Barbaras Bouchet and Bach). The great music score of Ennio Morricone completes the work of the director Paolo Cavara. My vote is seven.

Title (Brazil): "O Ventre Negro da Tarântula" ("The Black Belly of the Tarantula")

Inspector Tellini (Giancarlo Giannini) must investigate the bizarre murder of two seemingly unconnected women, paralysed by their killer so that they may be horrifically violated while conscious.

It has often been said that Italian cinema is all style and no plot but here is a definite example to the contrary. 'The Black Belly of the Tarantula' is indeed a stylish Italian offering laced with some truly exquisite photography and novel camera trickery but it also consists of a strong plot that surprises and captivates while maintaining a profound aura of trepidation. It is, however, perhaps the most apparent downfall in the film that the plot becomes the central focal point as several aspects to the story are left unexplored, subsequently leaving no acceptable closure of the respective plot aspect. Unfortunately because of this, the prevalent incoherency of Italian cinema is once again revisited and due to the nature of the film it is perhaps more difficult than usual to ignore. With this in mind, one should realise that the central storyline is stark enough to arouse and preserve viewer interest while only the sub-plots weaken the overall presentation of the film.

Despite the mainly superficial criticisms one can direct at the film, 'The Black Belly of the Tarantula' still takes a firm position as one of the finer examples of this particular brand of Italian film-making. Unquestionably, the opening thirty minutes are immensely powerful, offering some of the most intimidating murder sequences ever confined to the cinematic medium. The use of gloomy visuals, point-of-view shots, intentionally disorientating photography, a wonderful musical score blending both prominence and subtlety and a lavish use of dark colours and shadows creates an almost unsurpassed eerie and brutal ambiance to accompany the violent actions depicted on screen and the shrill, short, terrifying shrieks of the killer's victims seek only to underline the artistic craftsmanship of the picture. The brusque transition to silence that immediately follows the first attack of the murderer in each individual case is so overwhelmingly haunting that the following actions are immeasurably disturbing in their tranquillity. Undoubtedly, these sequences are the pinnacle of creativity from Paolo Carvara in this picture; sublime in their splendour and disconcerting in their substance.

The most apt way to summarise 'The Black Belly of the Tarantula' would be to simply describe it as flawed genius. Arguably too plot-heavy and with an unmistakably clichéd outcome, the superlative qualities fortunately shine through and leave the film as impressive, not disappointing. Perhaps those more highly versed in the Italian Giallo will appreciate the effort and artistry slightly more than others, but in any case, 'The Black Belly of the Tarantula' is worthy viewing for all fans of cinema. 7½/10

"The Black Belly of the Tarantula" is a typically grandiose title in this genre of film known as the Giallo. Giancarlo Giannini stars as Inspector Tellini, a police detective on the trail of a killer. This killer is targeting the female clients of a health and beauty salon, and employs a particularly insidious method. They inject their victims with the poison from a rare species of wasp, and this poison thoroughly incapacitates them, so that they're unresponsive but conscious when they get carved up with the killers' blade.

Giannini is low key and likable in the lead role. His time on the job is contrasted with his more mundane home life with his wife Anna (Stefania Sandrelli), and it's actually what director Paolo Cavara *doesn't* do that makes this an interesting film of its kind. He doesn't concern himself with being overly stylish, instead opting for a slightly more matter of fact approach. Fans of this genre need not be concerned, for there is still quite a bit of female flesh to ogle and some bloody brutality to enjoy, but Cavara does an engaging job of combining the psychosexual proclivities of the maniac with a police procedural and a little bit of lightweight domestic drama.

All of the ladies just look ravishing, of course. Claudine Auger ("Thunderball") plays salon boss Laura, Barbara Bouchet ("Casino Royale" '67) is unhappy married woman Maria Zani, and Barbara Bach ("The Spy Who Loved Me") is the receptionist, Jenny. Silvano Tranquilli offers a fine supporting performance as Maria's husband Paolo, who decides to play amateur sleuth when he falls under suspicion.

Good pacing and a fairly tense finale help to make this a good entertainment, as well as a deliciously unconvincing dummy fall.

Seven out of 10.

From the recent spate of giallo releases via the Blue Underground label, this was the one I was most looking forward to; still, now that I've watched the film, the proclamation on the DVD sleeve of its being "The Best Giallo Ever Made" is an exaggeration - as it's not quite in the same league as the best of Mario Bava, Dario Argento, or even Lucio Fulci!

Despite being made by people not usually associated with the sub-genre (director Cavara had started out in "Mondo" documentaries!), most of the requisite elements are present - and this, I have to say, is its major weakness: though the killer's modus operandi here is undeniably original and particularly vicious, the settings, (mostly irrelevant) plot complications and the unconvincing explanation at the end are all-too-typical, thus making the whole somewhat predictable (down to the identity of the murderer!), if never less than enjoyable and occasionally exciting (the rooftop chase scene above all). Still, as shot by Marcello Gatti, the film is stylish enough (even if the technique isn't really pushed to the limit as in, say, the films of Argento) and, in any case, it has two major assets in the performance of Giancarlo Giannini (as bewildered a giallo protagonist as one can get though, for once, he is a cop and a fairly intelligent, albeit disillusioned, one at that) and a typically unforgettable, indeed irresistible soundtrack courtesy of the tireless and ever-inspired Ennio Morricone.

One can't have a giallo without the presence of a bevy of beauties - most of whom get to shed their clothes and are soon shown on the receiving end of the killer's paralyzing poison-tipped needle: Barbara Bouchet (appearing, all-too-briefly, as the first victim in one of the most effortlessly erotic openings to any film!), Barbara Bach and Stefania Sandrelli (who, alas, is too often left by the wayside - though she does share a love scene with Giannini - and whose voice, as far as I can tell, was dubbed even in the Italian version!). The notable cast also features Claudine Auger, Silvano Tranquilli, Rossella Falk and Eugene Walter (as a patronizing gay waiter, whose vaguely androgynous features were later utilized to startling effect in another solid giallo, Pupi Avati's THE HOUSE WITH LAUGHING WINDOWS [1976]). Trivia note: I got to see Giannini, Sandrelli and Bouchet at the 2004 Venice Film Festival (the latter on more than one occasion, since she was a guest of honor during the Italian B-movie retrospective!).

A great giallo from a director who made too-few forays into the genre but come up with the goods each time.

In particular, this (like "The Fifth Cord") is a great example of how the giallo creates a particular physical space in which the drama takes place - all ultra-modern and chic, with all sorts of psychosis rotting away under the slick surface.

Highlights include a great chase around and on the roof of a modernist office, Giancarlo Giannini's fine performance as a cop struggling with doubts about his abilities in a case that gets all too personal, a cameo by Walter Eugene from "The House With Laughing Windows", a high quota of gorgeous starlets and one of Morricone's best scores. And another guest-starring appearance by J&B scotch - surely worthy of a few PhD essays in it's own right for it's ubiquity in the genre (did the Italians drink an awful lot of this in the 60S and 70s or were they keen early adopters of product placement?)

Well worth a viewing for the general thriller fan and a must for any self-respecting giallo aficionado.

In most of the Giallo movies I have seen so far,there was always this gimmick that made the movie distinguish itself in the genre. While there is such a gimmick used here it nearly isn't as interesting as it sounded. The gimmick of course is the killer using acupuncture needles to paralyze the victims like this special wasp does to the black tarantula. And that is it. The title sounds more intriguing than it is. The movie contains enough moments to maintain a certain tension. But without red herrings it is actually pretty easy to pick out the killer. In good Giallos they often give hints and clues in making you think who the suspect is and then hit you with this amazing twist that turns everything upside down and still make sense. "Black Belly..." lacks serious suspects so basically everyone could be the killer. Very sloppy or lazy and no fun whatsoever. This movie doesn't even try to make sense of the killer's actions which usually should be the key element in unfolding the killer's identity. Apart from the beautiful women this movie isn't special. Is it a waste of time then? No,not really. But one familiar with the genre does expect more creativity. The main character also starred as Matis in the last two Bond movies which sort of gives this movie more glamour. Overall this movie just lacks the punch I expect to be in a giallo movie.

This one has quite an interesting cast -- Giancarlo Giannini of Lina Wertmueller fame plus loads of seventies dolls -- and nice decors, but it doesn't help. The script is bland, predictable and wouldn't have been accepted for any substandard TV show; the pacing is lame, and even the killings are boring -- a capital sin in a so-called "giallo", and another proof that director Paolo Cavara wasn't quite on a par with, let's say, Sergio "Torso" Martino. However, the opening scene is cool, clever and supersexy, including Ennio Morricone's perhaps most lascivious score: three minutes of style and foot fetishism that are unsurpassed in "giallo" history. After that, get ready for a huge disappointment.

Someone is bumping off sexy women, inserting a venomous acupuncture needle into the back of the neck to render the victim helpless yet lucid, before getting busy on them with a knife. Investigating the series of grisly murders is Inspector Tellini (Giancarlo Giannini), who has serious doubts about his chosen career, and who unwittingly drags his own wife Anna (Stefania Sandrelli) into the web of murder and intrigue.

The Black Belly of the Tarantula is a textbook giallo that does little to distinguish itself from countless other Italian murder mysteries of the day: there's the mysterious killer in black fedora, raincoat and gloves (albeit rubber gloves); a bevy of beautiful victims, most of whom get nekkid (some before they are killed, some after); stylish '70s architecture and interior design; a convoluted storyline with plot threads that go nowhere; a lush Ennio Morricone score; and a really dumb twist that takes an awful lot of swallowing.

For many this tick-list of genre clichés will be enough, but I couldn't help but feel a tad underwhelmed by the film, which lacks the visual acumen of a director like Argento or Bava, the gory excess of Fulci, and not nearly enough of those weird touches that make certain giallos stand out from the pack. While it's impossible to be too hard on a film that features so many gorgeous Euro-babes in a state of undress (including a buck naked Barbara Bouchet and a topless Barbara Bach), the by-the-numbers nature of proceedings means that I cannot rate this higher than 6/10.

The Black Belly of the Tarantula (1971) is an Italian giallo movie that I recently watched on Shudder. The storyline follows a serial killer who paralyzes their victims and then rips their stomachs open. We follow a game of cat and mouse as a detective tries to capture the killer and the killer keeps killing...

This movie is directed by Paolo Cavara (A Dog's Life) and stars Giancarlo Giannini (Quantum of Solace), Claudine Auger (Thunderball), Barbara Bouchet (Gangs of New York) and Rossella Falk (Modesty Blaise).

I really enjoyed the kill scenes in this movie. I could literally feel the pain every time the killer used the needle. The blood in this is the traditional paint red color that is usually used in giallo pictures, but that didn't take away from the stabbing and harshness of the cutting. Really fun stuff here. The detective and his womanizing ways is a bit cliche and but he's a fun character. The women in this are absolutely gorgeous and the opening massage sequence and kill is outstanding. The conclusion is solid but not the biggest shocking reveal I've ever seen.

Overall, this is another giallo gem that's an absolute must see. I would score this a 7/10 and strongly recommend it.

Judging by its plot, atmosphere and absolutely beautiful cinematography, "Black Belly of the Tarantula" to me felt like a sweet amalgamation between Dario Argento's "Bird with the Crystal Plumage" and Mario Bava's "Blood and Black Lace". And, if you know a little something about Italian horror cinema, you'll agree that there are far worse titles out there to get compared with than these two! This is a masterfully staged and creatively scripted murder mystery with bloody-yet-tense massacres and likable characters for once. A gloved psychopath is killing models of fashion house by paralyzing their nerve systems before slicing them open with a knife. This ingenious modus operandi he borrowed from the killing rituals of a wasp species that hunts tarantula spiders. The young police inspector Tellini investigates the crimes but his own life and that of his beloved wife are soon endangered by the culprit as well. This Italian horror gem features one of Ennio Morricone's finest musical scores and director Paolo Cavara professionally stuffs his film with typical giallo-intrigues like drugs, sexual deceit and blackmail. The girls are beautiful (and showing lots of ravishing naked flesh), the suspense is omnipresent and class actor Giancarlo Giannini makes a perfectly credible police hero. "Black Belly of the Tarantula" contains a handful of powerful sequences that fans of horror genre will consider pure craftsmanship, like the rooftop chase and the super-violent climax. It's not easy to come across a (decent) copy but try your best, as this is essential viewing for all giallo-buffs!

One of the best early Gialli that offers the elements all we love from this sub-.genre in all of its glorious fashion. The atmosphere is fantastic and the script keeps you intrigued since the sexy opening.

The death sequences are brutal and insane (all about the acupuncture technique to paralyze victims), and the dark tone of the film is perfectly displayed on screen.

The fantastic performance of the Inspector, played by a very well known actor in this sub-genre, totally carries the weight of the film on his back.

The only problem I find with the movie is the middle section of it, where it gets redundant and almost boring. However, it recovers near the climax.

Die hard fans of the sub-genre will find amusing to notice "someone" really important from another fantastic Giallo, "The House of the Laughing Windows" (1978).

Moderately watchable by-the-numbers giallo without the stylishness and flamboyant set-pieces of the best ones, but, fortunately, without the excessive absurdities and logical flaws of the worst ones either. (Though there's still enough silliness and idiocy left intact to keep the most fervent genre fan satisfied; not to mention the exploitative attitude giallos are notorious for.)

After a strong first half hour, the plot loses momentum up to a lame denouement, followed by the usual ridiculous psychobabble.

At least, the pace never flags and the actors are above average.

3 out of 10 see-through killer gloves (for a change)

Black Belly of the Tarantula is both a great thriller in its own right and surely one of the best entries in the Giallo cycle. The film is reminiscent of several like it, but this one is the most cerebral and most sadistic Giallo I've seen. The modus operandi of the killer at the centre of the story involves jabbing his victim with a poison laced needle which induces paralysis. He then proceeds to gut them while they're still alive and unable to do anything about it! Director Paolo Cavara seems to realise just how malicious this plot is, and so the film is not gratuitous. The reliance on the idea behind the murders is far more shocking than any amount of gore; so it doesn't matter that there isn't a lot of the red stuff. Typically, the film works from an extremely convoluted plot which sees a woman, who is also a member of a private health club, become the victim of blackmail. Around the same time; dead bodies start piling up and our hero; an insecure police detective by the name of Tellini learns that the murders are done in the style of the black wasp killing a tarantula...

As ever with Giallo, the film isn't particularly easy to follow; as there's so much going on that it's easy to miss one or two key plot elements. This is, however, far better than having too little going on and unlike many Giallo's, at least this one mostly resolves everything by the conclusion. There's a very potent stream of sleaze running throughout the film also; as if the killer's methods weren't enough on their own. The film features plenty of sex, and it will please some to learn that many of the murders are depicted with the female victim in the nude. The murder scenes themselves are well orchestrated, and director Paolo Cavara delights in showing us the gentle way that the paralysis needle slips into the victims' necks before having their stomachs ripped open with a hunting knife. The cinematography is superb, and it's safe to say that Black Belly of the Tarantula is one of the better looking Giallo films out there. The locations bode well with the film's style, and scenes that take place on a rooftop and in a luxury swimming pool provide visual treats. Overall, I don't hesitate to name Black Belly of the Tarantula as one of the best Giallo's that I've seen and it comes highly recommended!

Bond aficionados will appreciate the opportunity to see three Bond girls in one film: Barbara Bouchet (Moneypenny in Casino Royal); Claudine Auger (Dominique in Thunderball); and Barbara Bach (Major Amasova in The Spy Who Loved Me).

Barbara Bouchet starts the show parading around in her birthday suit before she falls victim to a serial killer who uses wasp venom to stun his victims so they can watch their deaths.

Is the husband (Silvano Tranquilli) another OJ looking for the real killer? Giancarlo Giannini (Man on Fire and both of the Daniel Craig Bond films) is a police detective trying to find the killer. He constantly has a grim look on his face like he would rather be somewhere else.

The entomology lesson on the wasp and the tarantula is as horrible as the murders.

The first 30 minutes are the best before the film settles into a routine and then we get the surprise ending. Music by Ennio Morricone and superb photography make it enjoyable.

Thankfully, I got to see it in Italian with subtitles.