Storyline

The Cat o' Nine Tails (Italian: Il gatto a nove code) is a 1971 Italian giallo film written and directed by Dario Argento. Although it is the middle entry in Argento's so-called "Animal Trilogy" (along with The Bird with the Crystal Plumage and Four Flies on Grey Velvet), the titular "cat o' nine tails" does not directly refer to a literal cat, nor to a literal multi-tailed whip; rather, it refers to the number of leads that the protagonists follow in the attempt to solve a murder. Though successful in Europe it was dismissed in the United States. Argento admitted in the book Broken Mirrors, Broken Minds: The Dark Dreams of Dario Argento that he was less than pleased with the film. In fact the director often cites it as his least favorite of his films.

Caught between the truth and a murderer's hand!

Sixth Sense and Nine Avenues. Il gatto a nove code (The Cat O Nine Tails) is written and directed by Dario Argento. It stars Karl Malden, James Franciscus, Catherine Spaak, Horst Frank, Aldo Reggiani, Carlo Alighiero and Rada Rassimov. Music is by Ennio Morricone and cinematography by Erico Menczer. Blind puzzle solver Franco Arno (Malden) and newspaper man Carlo Giordani (Franciscus) team up to see if they can solve the mystery of the murders that are terrifying the city. With their own lives becoming increasingly in danger, and the lines of investigation splintered all over the place, the men are drawn to the mysterious Terzi Institute where geneticists are tampering with gene patterns Argento doesnt like it and the fans are very much divided about the worth of it on the Argento curriculum vitae, yet The Cat O Nine Tails is a delightfully entertaining oddity. The plot is labyrinthine with relish on top, spinning the viewers into the same convoluted investigative maze that Messrs Arno and Giordani find themselves in. In fact, its near genius that it rarely makes sense under inspection, yet still theres a fascinating edge to the story, with its characterisations, sexual kinks and cruel murders, theres a power to the piece that rewards if you can just run with it, buy into Argentos Giallo singed world. With Malden turning in a great performance and Franciscus performing to a level nobody thought was in him, the lead characters really come to life. Add to that Morricones creepy jazzy-garde fuelled score underlining the skew-whiff nature of the beast, and Menczers photography tonally muted, tech credits are at one with the themes ticking away in the narrative, a narrative that has observation, ironically, on vision, sight and minds eye. While theres a couple of rug-pulls jostling for our attention just to keep things twisty. Then there is the director himself. The Cat O Nine Tails finds him restrained compared to the excess of style over substance films that would dominate his oeuvre post release of The Cat. Thats not to say there isnt style here, theres plenty as Argento dallies in POV, iris vision, and a nifty trick that gives the blind Arno sight, further ensuring that the supposed handicapped character is the key player and potential saviour of all. A number of scenes are bursting at the seams with suspense, with a cemetery/mausoleum sequence top draw, for sure Argento is firmly getting in his stride here. Its not a gore movie, something which I personally think has led to some of Argentos fans giving the film the cold shoulder, but its the tale (or tails of course) and characterisations that hold it up as being under valued. Its a Giallo whodunit flecked with sexual stings and no little amount style draped all over it. 7/10