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Death Walks on High Heels (Special Edition) [Blu-ray]

Special Edition

Frank Wolff (Actor), Nieves Navarro (Actor), Luciano Ercoli (Director) Rated:

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Format: Blu-ray

57 ratings

IMDb6.5/10.0

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Editorial Reviews

Although less celebrated than some of his better known giallo peers such as Dario Argento, Mario Bava and Sergio Martino, late producer-turned-director Luciano Ercoli contributed three hugely entertaining and memorable entries to the genre including this, his 1971 sophomore effort, Death Walks on High Heels.

Spanish-born model and actress Nieves Navarro stars as Nicole, an exotic dancer who finds herself terrorized by a black-clad assailant determined on procuring her murdered father s stolen gems. Fleeing Paris in hopes of evading her knife-wielding pursuer, Nicole arrives in England only to discover that death stalks her at every corner.

With the scene-stealing Navarro at its center, Death Walks on High Heels manages to subvert the conventions of the giallo film by having a ballsy, well-rounded female protagonist to root for representing a welcome departure from the neurotic stereotypes found elsewhere within the genre.

SPECIAL EDITION CONTENTS:

2K restoration from the original camera negative

Original Italian and English soundtracks in mono audio

Newly translated English subtitles for the Italian soundtrack

Optional English subtitles for the deaf and hard of hearing for the English soundtrack

Audio commentary by film critic Tim Lucas

Introduction to the film by screenwriter Ernesto Gastaldi

From Spain with Love featurette comprising newly-edited archive footage of director Luciano Ercoli and actress Nieves Navarro, interviewed at their home in Barcelona

Master of Giallo screenwriter Gastaldi on Death Walks on High Heels and how to write a successful giallo

Death Walks to the Beat a career-spanning interview with High Heels composer Stelvio Cipriani

Original Italian and English Trailers

Reversible sleeve featuring original and newly commissioned artwork by Gilles Vranckx

Product details

MPAA rating ‏ : ‎ Unrated (Not Rated)
Product Dimensions ‏ : ‎ 6.75 x 5.3 x 0.5 inches; 3.2 Ounces
Item model number ‏ : ‎ 43461807
Director ‏ : ‎ Luciano Ercoli
Media Format ‏ : ‎ Anamorphic, Dolby, NTSC, Widescreen
Run time ‏ : ‎ 1 hour and 48 minutes
Release date ‏ : ‎ March 21, 2017
Actors ‏ : ‎ Frank Wolff, Nieves Navarro, Simon Andreu, Carlo Gentili
Subtitles: ‏ : ‎ English
Studio ‏ : ‎ Arrow Video
ASIN ‏ : ‎ B01NGWVFZY
Country of Origin ‏ : ‎ USA
Number of discs ‏ : ‎ 1

Best Sellers Rank: #42,423 in Movies & TV (See Top 100 in Movies & TV)
- #352 in Foreign Films (Movies & TV)
- #1,668 in Horror (Movies & TV)

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free_labor

Plusses and Minuses

Reviewed in the United States on March 10, 2020

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I try to give well-rounded reviews, so I'll start by saying I watched the streaming version on Amazon Prime. So if you like boxed sets or blu-rays from Arrow, you should probably go ahead and get those, you will probably like them.

If you are a horror fan, this will bore you to tears.

If you are a giallo fan, this is pretty... meh. It has a lot of plot twists, but there is really only one gruesome murder, and the characters are not very interesting. It moves back and forth between Paris and London, which is kind of interesting--not many gialli do that--but the motivation for the killings is pretty pedestrian: they want the stolen diamonds. That's not really a giallo murderer motivation. A giallo killer is supposed to be motivated by some kind of psycho-sexual deviancy. ;)

If you like 1970s Italian movies, as a thriller, it's not bad. Again, lots of twists and turns, and I had the killer wrong until the end. It also has this weird, cheeky sense of humor that I'm not sure if I liked, but was kind of entertaining? The film ends on a freeze frame of the two cops smiling at each other as they share a cigarette, kind of Starsky & Hutch-like.

If you're interested in social justice, this is probably not for you. The woman are all mistreated and murdered, the Black maid saves her employer twice then weeps unconsolably when she is killed--because most working class people are broken up when their employers die. I'm sure she had a deep, personal concern for her white, bossy employer. Then there's the blackface strip tease. Yes, there is a blackface strip tease. Then, of course, there is a guy who crossdresses and who, when found out, shouts out "It's a vice! It's a vice! Forgive me!" because anyone who crossdresses is a deviant who must be punished. So not LGBTQ friendly.

So, mostly, a miss, unless you just really like 70s Italian films. Which some people do. So if you do, you do you! Others maybe, probably keep looking, and this is definitely not the 80s slasher, Suspira, Blood and Black Lace, or Deep Red you were looking for.

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Allen Garfield's #1 fan.

Arrow bluray. Great giallo!

Reviewed in the United States on October 10, 2019

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A famed jewel thief named Rochard is slashed to death on a train while his daughter Nicole, a famous nightclub performer in Paris, is questioned by the police about some missing diamonds which she claims to know nothing about this. Nicole is then terrorized by a masked man with piercing blue eyes who demands to know where her father has hidden the stolen diamonds.

There are three “Death Walks” films of which I have now seen three. I expected to like “Death Walks on High Heels” less than I liked “Death Walks at Midnight,” which I did not like very much at all. I based this opinion off the fact that the Giallo Score site ranked “Death Walks on High Heels” lower than “Death Walks at Midnight.” Both films featured the combination of screenwriter, Ernesto Gastaldi, with Luciano Ercoli. Whereas “Death Walks at Midnight” got lost in a series of twists and turns, the only real criticism that I can make of “Death Walks on High Heels,” is that one of the victims who is supposed to be murdered looks a suspicious amount like one of the characters that stays alive throughout the course of the film. While it may not be as note by note perfect definition a giallo as “Death Walks at Midnight,” “Death Walks on High Heels” is full of twists, turns, and a few other things. Here’s what you can expect from “Death Walks on High Heels”:

2 throats slit open
1 woman felt up with her shirt still on
1 stripper dance
3 women stripped down to bra and undies
1 woman smothered to death with a pillow
1 boot fetishist
1 creepy one handed man in drag
1 man blinded by a blow torch
1 vomiting drunk, and
1 gruesome eye surgery

Great stuff!

“Death Walks on High Heels” opens with an eye-patched man who has his throat slit open by an unseen stranger. (Why this guy has an eye patch is never explained. There is a paper that one could write about eyes and eye motifs in this film, but I’m neither interested nor do I come to these types of films for these sorts of things. The truth is often just simply that the director became enamored with images featuring eyes. Don’t look any further. Please).

We soon learn that the deceased one-eyed man’s daughter, Nicole Rochard (Nieves Navarro billed as Susan Scott), is a stripper. Michel Aumont (Simon Anreu) is soon introduced as Nicole’s French, often drunk boyfriend. Nicole begins receiving messages from an unidentified caller that someone is out to kill her. Before we know it, Nicole is attacked by a masked man with a razor blade who rips off her clothing and demands to know where the diamonds are. She says she doesn’t know.

Without much explanation or character development, Nicole leaves Michel for Dr. Matthews (Frank Woff), who looks like he is many years older than her. Dr. Matthews, enamored by Nicole, takes her to a seaside cottage. At the seaside town, we are introduced to Captain Lenny (George Rigaud), who seems to exist mainly to remind us that misogyny is very much alive.

There is a scene in the film where Dr. Matthews performs mainly to remind us that this is a horror film and thus, gratuitous shots of the human anatomy being exposed are permissible.

In a plot reversal fit for a Hitchcock movie, Nicole turns up dead halfway through the film. From this point forward, we know that the rest of the film will be dedicated to discovering exactly who killed her (As I have already noted, because Dr. Matthew’s wife looks an awful lot like Nicole, it took me several minutes before I realized that Nicole was in fact very much dead).

The authorities hassle Nicole’s boyfriend, Michel, who we are duped into believing is the one who murdered Nicole. He goes out on a quest to prove he is innocent and ends up being caught by the authorities choking Mrs. Matthews (Claudie Lange), the disgruntled wife of Mr. Matthews. But then, someone tries to kill Mrs. Matthews and leaves contact lenses, which is an almost identical recreation of Nicole’s murder (This, in retrospect, is maybe not the wisest of ideas).

We are also led to believe that one of Dr. Matthews’ patients, a blind man, is responsible for killing Nicole. The blind man turns out to have been an accomplice of the jewelry heist with Nicole’s father. The blind man, however, is also not the culprit. Hmmmm....

Great Arrow release: great picture and sound. Extras, etc.

5 people found this helpful

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Paul S. Person

Better Than Most

Reviewed in the United States on June 19, 2021

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Most, that is, of the 1970-era Italian giallo films I apparently found recommended on a list somewhere and have been watching, from time to time, over the last several years. Non-Argento giallos, of course, as I have all the Argento films available.
Many of the others just didn't work. Most had some interesting points, but just weren't that well done.
Well, /this/ one is pretty well done indeed!
A stripper, daughter of a burglar, runs away to England from Paris when her father dies and she is stalked by someone who thinks she has the diamonds he stole on his last job.
People start dying, and things /really/ get exciting, because you have no idea who is doing the murders.
There are a few things that make this definitely an Italian film (and not just that it is presented in Italian with English subtitles):
-- the initial setup may make you wonder if you are watching a murder mystery (which you are) or a marital drama
-- their treatment of race, I suspect, no longer passes muster; it's not that it's insulting or anything like that, it's just thoughtless by today's standards
-- the British detectives assigned to the case after the first murder in England are treated as comic relief, although they do mostly figure out what was happening and so show some competence
-- what appears to be the traditional scene embodying an Italian stereotype of homosexuals (which appears to be "they hold flowers in their hands") is so idiotic that it almost counts as a satire on Italian stereotypes
On the plus side again, I never guessed who the real killer was, or what the real situation was. You may have a different opinion, but I tend to give films that keep me guessing a much higher rating than others.

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Paul Barrett

And Most Likely Everyone Else.

Reviewed in the United Kingdom on September 25, 2017

Verified Purchase

Excellent giallo if you like this you will love this one. Shame about the awful American dubbing. He we have to understand who filling you.

2 people found this helpful

BICKY

Five Stars

Reviewed in the United Kingdom on May 1, 2017

Verified Purchase

excellent

One person found this helpful

Bluntwolf

Letztendlich entwickelt sich der Film zum schwächsten Giallo des Regisseurs !!!

Reviewed in Germany on January 4, 2020

Verified Purchase

Nicole Rochard ist eine exotische Tänzerin in Paris, deren Vater, ein bekannter Juwelendieb, ermordet wird. Sofort stellt die junge Frau für die Polizei eine Verdächtige dar. Doch richtig spannend wird es erst, als Nicole von einem maskierten Mann bedroht wird, der seine Stimme mit einer sogenannten Voice-Box verzerrt. Nicole befürchtet ihr alkoholkranker Freund Michel könnte dafür verantwortlich sein, weswegen sie mit einem reichen Bewunderer, Dr. Robert Matthews, nach England flieht, um ein neues Leben zu beginnen. Mit der Zeit wird sie jedoch von ihrer Vergangenheit eingeholt…
Nach dem Erfolg von Le foto proibite di una signora per bene (Frauen bis zum Wahnsinn gequält, 1970) haben sich Luciano Ercoli, Ernesto Gastaldi, Nieves Navarro und Simón Andreu für Death Walks on High Heels wieder zusammengefunden. Bei dem Film handelt es sich um eine gemischte Angelegenheit, die jedoch genügend Giallo-Merkmale bereit hält, um mindestens eine Betrachtung zu rechtfertigen. Das Drehbuch entspricht nicht Gastaldis üblichen Standards. Während die Grundzüge zufriedenstellend genug sind, präsentiert sich die Geschichte recht unübersichtlich und scheint nicht besonders gut fokussiert zu sein. Einiges davon liegt an Ercolis etwas lockerer Regieführung, doch auch Gastaldi muss einen Teil der Schuld auf sich nehmen, dafür dass er die Dinge zu sehr verkompliziert, um den Betrachter bis zum Ende weiter raten zu lassen, wer denn nun der wahre Bösewicht ist. Ercoli verbringt viel Zeit damit von seiner Liebe im realen Leben, Nieves Navarro, besessen zu sein, obwohl dies kaum Anlass zur Klage gibt.

Eine ihrer Tanzroutinen ist zwar mehr als nur ein bisschen politisch inkorrekt zu bezeichnen – mit einem faux-afro und dunklem Make-up ausgestattet – die Schauspielerin zeigt sich jedoch von ihrer besten sexy Seite, wobei sich die zahlreichen Szenen, in denen sie nackt tanzt äußerst ansprechend gestalten. Vielleicht hat ihre Beförderung zum Star (nachdem sie in Frauen bis zum Wahnsinn gequält den Status einer Nebendarstellerin erhalten hatte) Ercoli dazu veranlasst, hier so viel Zeit wie möglich mit ihrer beeindruckenden Figur zu verbringen. Es besteht kaum Zweifel daran, dass Navarros urwüchsige Erotik zu den lebhafteren Dingen dieses Films zählt. Leider ist die Geschichte ziemlich vorhersehbar geraten und die endgültige Enthüllung könnte nicht transparenter sein. Ercoli und Gastaldi tun zwar alles dafür, um die Vorgänge rätselhaft auszuformen, allerdings bemühen sich die beiden weitgehend umsonst.
Einige gewalttätige Ausbrüche helfen dabei die Langeweile in Schach zu halten, aber letztendlich entwickelt sich La morte cammina con i tacchi alti zum schwächsten Thriller des Regisseurs. Trotzdem sieht der Film verdammt gut aus, mit einiger raffinierter Widescreen-Kinematographie von Fernando Arribas und schönem, kitschigem 70er-Jahre-Dekor. Es gibt auch reichlich J&B zu trinken, wobei die Retro-Stimmung durch Stelvio Ciprianis ansteckenden Soundtrack noch ordentlich abgerundet wird. Cipriani wurde neben Ennio Morricone zu einem der Hauptkomponisten von Giallo-Soundtracks. Der 1937 in Rom geborene Cipriani studierte Musik und spielte als Background für verschiedene bekannte Sänger, bevor er seine erste Filmmusik für den Italo-Western El precio de un hombre: The Bounty Killer (Ohne Dollar keinen Sarg, 1966) komponierte. Er trug die hervorragende Musik zu Piero Schivazappas stilvollem S/M-Thriller Femina ridens (The Frightened Woman, 1969) bei und bekam dann eine wirklich große Chance, als er von Enrico Maria Salerno engagiert wurde, um das Drama Anonimo veneziano (Des Lebens Herrlichkeit, 1970) starring Tony Musante und Florinda Bolkan mit Musik zu untermalen.

Der Soundtrack erwies sich als äußerst populär, weswegen Cipriani eine bemerkenswert produktive Karriere machen sollte und in nahezu jedem erdenklichen Genre arbeitete. Zu seinen Giallo-Scores gehörten Titel wie L’iguana dalla lingua di fuoco (Die Bestie mit dem feurigen Atem), Ecologia del delitto (Im Blutrausch des Satans), Il diavolo a sette facce (Der Teufel hat sieben Gesichter, alle 1971) und La polizia chiede aiuto (Der Tod trägt schwarzes Leder, 1974). Cipriani ist noch immer in der italienischen Filmszene aktiv. Die wirklich gute Besetzung spielt groß auf und versteht es dabei die Vorgänge so interessant wie möglich zu halten. Frank Wolff verkörpert den Arzt mit Stiefelfetisch, der um Navarro wirbt, ganz hervorragend; seine charmante Darbietung verleiht dem Charakter ein wenig Tiefe und Gefühl. Nieves Navarro (hier als Susan Scott) befindet sich in jeder Hinsicht in guter Verfassung, wobei Ercolis nachfolgender Giallo, La morte accarezza a mezzanotte (Death Walks at Midnight, 1972), ihr ein insgesamt besseres Schaufenster bieten sollte.

Simón Andreu spielt seine Rolle angemessen, als Navarros zwielichtiger Pariser Freund, der in die Morde verwickelt sein könnte oder auch nicht. Die Riege der Nebendarsteller umfasst den vielbeschäftigten argentinischen Charakterdarsteller Jorge Rigaud in der Rolle eines Mitarbeiters von Frank Wolff. Rigaud wurde 1905 geboren und gab sein Filmdebüt in den frühen 30er Jahren. Er arbeitete stetig in den 30er, 40er und 50er Jahren und wurde in spanischen sowie italienischen Filmen der 60er und 70er Jahre zu einem vertrauten Gesicht, das man in Spionagethrillern wie Kiss Kiss – Bang Bang (1966) und Italo-Western wie Sugar Colt (Rocco – Der Mann mit den zwei Gesichtern, 1967) sowie Caper-Thrillern wie Ad ogni costo (Top Job, 1967) und Horrorfilmen wie Pánico en el Transiberiano (Horror Express, 1972) wiederfinden kann. Er begann mit einer Nebenrolle in Lucio Fulcis Una sull’altra (Nackt über Leichen, 1969) in Gialli aufzutreten und spielte in Thrillern wie Una lucertola con la pelle di donna (A Lizard in a Woman’s Skin, 1971), Perché quelle strane gocce di sangue sul corpo di Jennifer? (Das Geheimnis der blutigen Lilie, 1972) und Gatti rossi in un labirinto di vetro (Labyrinth des Schreckens, 1975). Er starb 1984 bei einem Verkehrsunfall. Als weitere bekannte Gesichter aus europäischen Genrefilmen können noch Luciano Rossi (Sabata kehrt zurück, So schön – so nackt – so tot, Die Mörderbestien) und Claudie Lange (Django der Bastard, Django spricht kein Vaterunser, Die eiserne Hand des Todes) genannt werden, die wie von ihnen gewohnt solide Leistungen abliefern.

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