BY TIM GREAVES
The
name Sergio Martino will strike a chord with anyone who has even a passing
interest in Italian exploitation pictures of the 70s and 80s. Once seen, who
can forget The Great Alligator or The Island of Fishmen – both of which are
favourites of this writer in their showcasing of Barbara Bach at her most
radiant – or premium Suzy Kendall giallo Torso, or for that matter once ‘video
nasty’ and Ursula Andress headliner The Mountain of the Cannibal God? Marking Martino’s
second giallo, The Case of the Scorpion’s Tail (o.t. La coda della scorpione),
was released in 1971, sandwiched between a couple of his most highly regarded
titles, The Strange Vice of Mrs Wardh and All the Colours of the Dark. Scorpion’s
Tail isn’t quite on a par with either of those, but it’s still a respectable
entry in the sub-genre.
When
her husband is killed in a plane accident on a business trip to Greece, his
unfaithful wife (Evelyn Stewart) is informed she’s beneficiary to a $1 million
inheritance, with the one caveat that she has to travel to Athens to finalise
her claim. However, there are a number of people intent on getting their hands
on the not insubstantial sum, and at least one of them will remorselessly
resort to murder to do so. A turn of events results in the arrival of an
insurance investigator (George Hilton), who hooks up with a reporter (Anita
Strindberg) to check out some irregularities, and they inadvertently set
themselves up as targets for the killer.
An
enjoyable enough, if not particularly remarkable giallo then, touting a
convoluted plot loaded with sufficient a measure of misdirection to keep things
unpredictable. Opening in a very clean looking London and moving on to various
Greek locales, the travelogue location work certainly functions in the film’s
favour, lending it production value that eclipses the slightly ponderous
narrative of the screenplay (a collaborative affair from Eduardo Manzanos,
Ernesto Gastaldi and Sauro Scavolini). Most of – if not quite all – the
standard giallo trappings come into play, primarily there are a number of
graphic murders perpetrated by a fedora-wearing, razor-wielding maniac attired
in black (who’s not averse to donning a scuba wetsuit when the moment is
propitious). Some of them are pretty nasty too, including a startling– if not
particularly realistic – moment of eye-violence (squeamish viewers be warned!).
However, there’s a conspicuous dearth of nudity, in fact it’s about as coy as
they come that department; of course, nudity is seldom (if ever) pertinent, but
it’s standard enough a constituent within this sub-genre as to be noticeable
when it’s missing. The showdown on a forebodingly rocky stretch of desolate
Grecian coastline is fantastic, combining vertiginous camera angles and
suspenseful POV to maximum dramatic effect.
Heading
up a strong cast – which includes Alberto De Mendoza, Ida Galli (aka Evelyn
Stewart), Janine Reynaud and Luigi Pistilli – are George Hilton and Anita
Strindberg. Hilton also starred for Martino in the aforementioned pair, The
Strange Vice of Mrs Wardh and All the Colours of the Dark. His rugged good
looks found him top billing in a slew of spaghetti westerns – he was a one-spin
Sartana – as well as a run of crime and gialli pictures such as The Case of the
Bloody Iris, My Dear Killer and The Two Faces of Fear... though 1965’s spoof
Bond caper Due mafiosi contro Goldginger (in which he played Agente 007) can
probably be safely disregarded! He’s on top form here and rubs along well with
the very lovely Anita Strindberg. This writer first became aware of her in Who
Saw Her Die?, in which she appeared alongside George Lazenby and Adolfo Celi.
She didn’t enjoy as prodigious a career as Hilton, but she did score a lead
role in Your Vice is a Locked Room and Only I Have the Key for Martino, as well
as featuring in such renowned fare as Lizard in a Woman’s Skin and Women in
Cell Block 7. Her performance in Scorpion’s Tail is among her finest and there’s
no denying that the scene she spends clad in a sheer, clingy wet shirt affords the
audience a prurient bonus treat.
The
irritatingly repetitive opening titles theme aside, Bruno Nicolai’s score
brings a touch of class to the show, whilst cinematographer Emilio Foriscot’s
camerawork is never less than interesting. One scene, for no discernible reason
– but it impresses – plays out sideways; it’s a disorientating effect, but turning
one’s head sideways reveals itself as a uniquely impressive screen ratio,
particularly when viewed on a large monitor.
If
one can overlook some of its failings – the ropey model work at the outset gets
things off to a bad start – there’s plenty to enjoy in The Case of the
Scorpion’s Tail, and it can now be seen as a pristine presentation on a new
Blu-ray from Arrow Video. A 2k restoration from the original camera negative,
the colours are absolutely stunning, the picture pleasingly sharp and bright
throughout, with only the occasional distraction of intruding grain. It can be
viewed either in Italian with English subtitles or an English dub; the
preferable option is subjective (though I would always recommend the former).
Extra features comprise an audio commentary with scriptwriter Ernesto Gastaldi
(in Italian with English subs), interviews with George Hilton and Sergio Martino,
material devoted to Martino’s giallo titles and the career of Ernesto Gastaldi
(paying particular attention to his work with Martino), a trailer and a gallery
of Italian fotobustas. Arrow’s standard sweeteners – reversible sleeve art and
a limited edition collectors’ booklet – round out the deal.
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