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Death Walks at Midnight (Special Edition) [Blu-ray]

Special Edition

Susan Scott (Actor), Simon Andreu (Actor), Luciano Ercoli (Director) Rated:

Unrated

Format: Blu-ray

41 ratings

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Editorial Reviews

The second film in Luciano Ercoli s Death Walks series (and his third directorial effort to feature his wife Nieves Navarro, aka Susan Scott), Death Walks at Midnight is arguably the director s masterpiece aided in no small part by the screenwriting talents of giallo master Ernesto Gastaldi (Your Vice is a Locked Room and Only I Have the Key, Torso).

Navarro stars as Valentina a model who, in the midst of a drug-fuelled photoshoot, witnesses a brutal murder in the apartment opposite hers. But when the authorities refuse to believe that a crime has been committed, Valentina is forced to assume the role of amateur sleuth in order to unravel the mystery.

Although Ercoli only made a small number of giallo films during his time as director, Death Walks at Midnight (with its ultra-stylized set-pieces and grisly murder sequences) would serve to forever cement his reputation 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

Extended TV version of the feature

Crime Does Pay screenwriter Gastaldi reflects on his career in the crime film-writing business, including a look at Death Walks at Midnight

Desperately Seeking Susan visual essay by Michael Mackenzie exploring the distinctive giallo collaborations between director Luciano Ercoli and star Nieves Navarro

Reversible sleeve featuring original and newly commissioned artwork by Gilles Vranckx

Product details

Is Discontinued By Manufacturer ‏ : ‎ No
MPAA rating ‏ : ‎ Unrated (Not Rated)
Product Dimensions ‏ : ‎ 6.75 x 5.3 x 0.5 inches; 3.2 Ounces
Item model number ‏ : ‎ 43461809
Director ‏ : ‎ Luciano Ercoli
Media Format ‏ : ‎ Anamorphic, Dolby, NTSC, Widescreen
Run time ‏ : ‎ 1 hour and 42 minutes
Release date ‏ : ‎ March 7, 2017
Actors ‏ : ‎ Susan Scott, Simon Andreu, Peter Martell, Carlo Gentilli
Studio ‏ : ‎ Arrow Video
ASIN ‏ : ‎ B01NCMILZS
Country of Origin ‏ : ‎ USA
Number of discs ‏ : ‎ 1

Best Sellers Rank: #48,579 in Movies & TV (See Top 100 in Movies & TV)
- #393 in Foreign Films (Movies & TV)
- #1,817 in Horror (Movies & TV)

Customer Reviews:
41 ratings

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Top reviews from the United States

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Allen Garfield's #1 fan.

A close cousin to Death Walks at Midnight

Reviewed in the United States on June 13, 2021

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Death Walks on High Heels is the slightly less-known movie than the aforementioned. Certainly a product of the post-Bird with the Crystal Plumage school of giallo, from its black gloved, stab-happy villain, to its outrageous fashion sense and lurid sexual content, but it is not a ‘body count’ picture and owes a debt to the era’s equally popular, more action-heavy poliziotteschi (cops & robbers) movies. It’s no mistake, then, that Ercoli’s final two films as a director were both poliziotteschi – Killer Cop (Italian: La polizia ha le mani legate; aka: The Police Can’t Move, 1975) and The Big Rip-off (Italian: La bidonata, 1977). Ernesto Gastaldi’s screenplay (according to Ercoli, the other credited screenwriter, Mahnahén Velasco, didn’t actually work on the story and was only credited because contracts dictated that a Spanish writer have their name in the credits) is sort of notorious in the giallo fan community for its convolutions. The story shifts gears so many times that it’ll give even the seasoned Italian thriller fan whiplash and every time you think they can’t possibly introduce another red herring, a new suspicious face pops up. In an effort to keep the audience in the dark, the writers even change the narrative point-of-view away from the main character in a pseudo-homage to Psycho (1960). It’s definitely not the kind of movie that will win over new giallo converts, but those of us acclimated to such malarky will enjoy the gleeful disregard for logic and storytelling tradition.

Spanish actress Nieves Navarro (credited under the pseudonym ‘Susan Scott’), who was Ercoli’s real-life wife at the time, is fantastic as the lead (at least until the writers switch perspective). Though she embodies many giallo heroine tropes (impeccable fashion sense, exhibitionism, a desirable inheritance) and though Ercoli constantly exploits her sex appeal (she spends approximately half the movie in various states of undress), she’s not a perpetual victim. She plays a proactive role in the plot and is, for a time, presented as an independent breadwinner whose sexual appetites are not a beneficial trait. We’re meant to identify with her, instead of judging or pitying her – both default audience reactions to most women in gialli.

For his part, Ercoli swipes a few gags from Argento, but tends to dial back on the over-the-top camera work. The closer comparison is to Bava’s work, specifically in the use of colour, light, and the zoom function. His attempts at sexploitation, including an awkward introductory strip-tease sequence (performed in blackface, no less) and a howl-worthy erotic eating sequence (if you’re into scantily-clad women eating greasy fish with their bare hands, you are in luck, my friend), are particularly revealing, as well. There’s a lot of blatant fetishism at play here, including a male protagonist’s predilection for thigh-high boots, a peeping tom neighbor, and the fact that so many of the women in the movie are dead ringers for Navarro (it’s not a plot point). The inspectors investigating the case, who are brimming with homoerotic subtext – by the way – even stop along the beach to reenact the possible tying up of a drowning victim. Besides a squirm-worthy cataract removal sequence, a couple of bloody fistfights, and one very graphic knife-point murder (both of the knife attacks occur on beds, seemingly in homage to Bird with the Crystal Plumage), there isn’t a lot of on-screen violence to match the lewd sexual content. Make of that what you will!

Helpful

Don Q

English subtitles were displayed.

Reviewed in the United States on March 3, 2018

Verified Purchase

To GiallofanKY. I watched as much as I could via Prime video and English subtitles were displayed. It didn't make the movie any better.

3 people found this helpful

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GiallofanKY

AMZ PRIME VERSION NOT IN ENGLISH, NO SUBS!

Reviewed in the United States on February 24, 2018

Verified Purchase

**This is in regards to the Amazon Prime Video streamable version.** Clear and colorful transfer, story sounds great, but Prime Video's version is *NOT* in English (as of 2/24/2018) and has no subtitles or English Closed Captioning!!

7 people found this helpful

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Amazon Customer

Four Stars

Reviewed in the United States on April 22, 2017

Verified Purchase

Good

3 people found this helpful

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Nieves Navarro lover here

Reviewed in the United States on September 21, 2018

Nieves Navarro is a true queen of giallo, appearing in All the Colors of the Dark, Forbidden Photos of a Lady Above Suspicion, So Sweet, So Dead and Death Walks on High Heels. Here, she makes her second film with her husband, Luciano Ercoli.

In this one, she plays a fashion model named Valentina who agrees to help her journalist beau study LSD. But while she’s dosed and in the middle of a photo shoot, she watches a man brutally murder a woman with a spiked gauntlet. He thinks she’s just hallucinating and publishes her account, but she believes it’s real. And when the killer starts stalking her, she really starts to worry.

The entire opening of the film is one big acid freakout and everything that follows is the bad trip, the comedown and reality brutally intruding into drugged out bliss. This is a film packed with brutal violence and plenty of gore, but it makes sense. The movie demands it.

The end, when everything is wrapped up by the killer (killers?) is pretty great, as the many red herrings are discussed and the entire plot is finally explained to us. If everything before felt like a nightmare, this is bracingly cold water directly to the face.

Even better, Navarro portrays a heroine who doesn’t faint at the first sign of danger. She deals with the ineffectual police and indifference of her boyfriend with aplomb.

And yes — this film is packed with bonkers crazy fashion — a metal/glass silver wig and a strange sculpted wall feature prominently — so if that’s why you love giallo, you’ll be quite happy here. Me? I loved every minute.

2 people found this helpful

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Bluntwolf

In Bezug auf schieren Unterhaltungswert ist der Streifen schwer zu schlagen !!!

Reviewed in Germany on January 12, 2020

Verified Purchase

Das Model Valentina erklärt sich bereit an einer Studie mit einem neuen halluzinogenen Medikament teilzunehmen. Während sie die euphorischen Nebenwirkungen der Droge durchlebt, wird sie Zeugin eines Mordes in einer Wohnung auf der anderen Straßenseite. Niemand glaubt ihr wirklich einen Mord gesehen zu haben, auch ihr Freund, der Journalist Gio. Valentina möchte nun beweisen keiner Halluzination unterlegen gewesen zu sein und wird so zum Ärgernis für den Mörder. Der ist nämlich nicht nur sehr real – sondern auch äußerst entschlossen, wegen ihrer Einmischung nicht ins Stolpern zu geraten.

Die Geschichte für diesen stilvollen „Genre“-Beitrag von Regisseur Luciano Ercoli wurde von Sergio Corbucci erfunden. Bei dem Film handelt es sich um den dritten und letzten Giallo der Arbeitsgruppe um Ercoli, Drehbuchautor Ernesto Gastaldi sowie den Schauspielern Nieves Navarro (hier als Susan Scott) und Simón Andreu. Einen gelungeneren Abschied voneinander hätten sich die Mitstreiter sicherlich nicht wünschen können, denn La morte accarezza a mezzanotte sollte sich als die beste Zusammenarbeit des Teams herausstellen. Der Plot leiht die Idee eines Mordes, den jemand unter dem Einfluss von Drogen miterlebt hat, von Mario Bavas La ragazza che sapeva troppo (The Girl Who Knew Too Much, 1963) aus, was nicht verwunderlich ist, wenn man bedenkt, dass Corbucci an der Abfassung dieses wegweisenden Giallo mitgewirkt hat. Die Geschichte wurde mit vielen groovenden Diskotheken-Sequenzen, extravaganten Settings und Kostümen jedoch auf eine „swingende 70er“ Sensibilität aktualisiert. Darüber hinaus behält sie auch die Konzeption von der couragierten und einfallsreichen Heldin bei, die es nicht duldet, leichtfertig zum Narren gehalten zu werden. Valentina ist eine der stärksten weiblichen Hauptdarstellerinnen in einem Giallo dieses Jahrgangs. Sie ist belastbar, zäh, kann gut zuschlagen und spielt in dem Fall eher eine aktive, als eine passive oder lediglich dekorative Rolle.

Der Film zeichnet sich durch einen Hauch guten Humors aus, hält sich allerdings sehr zurück, wenn es darum geht, fies zu werden. Das Element des Sleaze wird diesmal stark in den Hintergrund gestellt, die Mordszenen sind jedoch von besonders viszeraler Qualität. Der Mörder aktualisiert eine Idee aus Bavas 6 donne per l’assassino (Blutige Seide, 1964), indem er einen klingengefütterten Metallhandschuh benutzt, um seine Opfer zu verstümmeln. Das Bild des Handschuhs, der wiederholt in die Gesichter der Opfer gerammt wird, während Fleischstücke herausgerissen werden und Blut am überzeugendsten sprudelt, ist kein Anblick für zart besaitete Personen und trägt dazu bei, dem Film eine brutalere Note zu verleihen, als Ercolis früheren gialli. Die Einstellungen und Bilder wurden mit größter Sorgfalt zusammengestellt. Die Kinematographie von Fernando Arribas produziert etliche unvergessliche Eindrücke, ob es sich nun um eine auffällige Inszenierung handelt, die das Spiegelbild eines Opfers in der Sonnenbrille des Mörders zeigt oder die gekonnten Weitwinkelaufnahmen. Ercoli und Arribas sorgen dafür, dass die Dialogszenen ein großes visuelles Interesse erzeugen, wobei der Film nicht in die Falle tappt nur während seiner Mord-set-pieces zum Leben erweckt zu werden.

J&B fließt diesmal übrigens so regelmäßig, sodass Simón Andreu das Getränk in einer Szene sogar explizit an der Bar bestellt. Gianni Ferrios Musik stellt sich als ziemlich ansteckend heraus und hilft dabei eine angemessene Atmosphäre zu erzeugen. Ferrio wurde 1924 geboren, trat 1959 als Komponist in die Filmbranche ein und würde eine produktive Karriere haben. Zu seinen anderen Giallo-Soundtracks gehören La morte risale a ieri sera (Das Grauen kam aus dem Nebel, 1970), Una farfalla con le ali insanguinate (Blutspur im Park, 1971) und Delitto passionale (Crime of Passion, 1994). Allerdings umfasst sein Output so unterschiedliche populäre Genres wie Italo-Western (¡Viva la muerte… tua! / Zwei wilde Companeros, 1971), Spionagethriller (Il raggio infernale / Mike Morris jagt Agenten in die Hölle, 1964), poliziotteschi (Tony Arzenta / Tödlicher Hass, 1973) und sogar Softcore (Sexy Susan Knows How! … / Frau Wirtin bläst auch gern Trompete, 1971). Ferrio blieb bis Mitte der 90er Jahre aktiv, wobei seine Produktionen danach beträchtlich zurückgingen. Er verstarb 2013. Sein Name wird unter „Genre“-Fans nicht so oft erwähnt wie die von Ennio Morricone oder Riz Ortolani, doch insbesondere seine Arbeit an diesem Film sichert ihm einen Platz im Pantheon der großartigen Giallo-Soundtrack-Komponisten. Nieves Navarro glänzt in einer ihrer schönsten Filmrollen. Ihre Darstellung von Valentina gestaltet sich angenehm sympathisch, ohne dabei ins Verführerische abzudriften. Sie ist tough, nicht auf den Kopf gefallen und ihre Interaktion mit den Männern in ihrem Leben lässt keinen Zweifel daran aufkommen, dass sie in der Tat eine sehr moderne und emanzipierte Persönlichkeit repräsentiert.

Ercoli sorgt dafür, dass sie durch und durch gut aussieht, mit Ausnahme einer eigenartigen Frisur, die sie in einer der Nachtclubszenen trägt. Navarro macht das Beste aus einigem an witzigen Dialogen und scheint wirklich die seltene Gelegenheit zu genießen, für die gesamte Dauer des Films im Mittelpunkt zu stehen. Sie legt großartige Chemie mit dem charmant schmierigen Simón Andreu an den Tag, der ebenfalls eine seiner stärksten „Genre“-Vorstellungen als fröhlich ausbeuterischer Gio abliefert. Der zynische Inspektor wird von Carlo Gentili gut verkörpert, während der ultra-gruselige Luciano Rossi in einer seiner typischen Rollen als wahnsinnig kichernder Drogenhändler mit sadistischem Einschlag glänzt. Rossi zeichnete sich durch die Art von perversen Charakterisierungen aus, die man normalerweise mit Klaus Kinski assoziiert und tatsächlich arbeiteten die beiden Schauspieler kurze Zeit später in Aristide Massaccesis morbidem Gothic-Chiller La morte ha sorriso all’assassino (Die Mörderbestien, 1973) zusammen. Ein Film, der in einigen Quellen auf inakkurate Weise in den filone des Giallo aufgenommen wird. Nicht lange danach sollte sich Ercoli ganz aus dem Filmgeschäft zurückziehen. Laut Ernesto Gastaldi war dies auf ein geerbtes Vermögen zurückzuführen. Bedauerlicherweise blieb Ercoli seiner Profession nicht treu, da er ein ausgeprägtes Können mit dieser Art von Material entfaltete. Death Walks at Midnight mag die Tiefe und Substanz der besten Gialli seines Jahrgangs vermissen, aber in Bezug auf schieren Unterhaltungswert ist der Streifen schwer zu schlagen.

2 people found this helpful

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Marco G.

La morte accarezza a mezzanotte (blu ray Arrow)

Reviewed in Italy on May 30, 2020

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Ottima qualià audio e video dei questo giallo italiano degli anni settanta ad opera della Arrow, che include negli extra anche la cosiddetta versione tv (in formato 4/3, con scarsa qualità video ma dalla durata più lunga).
Il blu ray ha l'audio italiano sia per la versione cinematografica sia per la versione tv con sottotitoli removibili per entrambe le versioni.
Le differenze con le edizioni nostrane sono queste: nel dvd No Shame brevi sequenze (della versione cinematografica) erano mute mentre in questo blu ray hanno l'audio in inglese, e nell'edizione trasmessa in televisione sono assenti; la versione cosiddetta televisiva contenuta negli extra del blu ray rispecchia quella editata in vhs dalla Creazioni H.V. nella quale non sono presenti le scene mute sopracitate ma ce ne sono delle altre in più doppiate in italiano.
Con tutta probabilità la versione tv del blu ray era la nostra versione ufficiale mentre la "versione cinematografica" era la versione uscita per l'estero e quindi ecco il perché del mancato audio in quelle brevi scene nel dvd No Shame.
Consigliato l'acquisto del blu ray agli amanti del giallo italiano nonché a chi vuole entrambe le versioni del film in italiano.

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anthonyle17

Arrow films are the best! Special features and packaging on both "Death Walks ...

Reviewed in Canada on April 30, 2017

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Arrow films are the best! Special features and packaging on both "Death Walks at Midnight" and "Death Walks on High Heels" are awesome, and for a pretty cheap price. Love that Arrow is now releasing DVD's of their new releases, which makes it more affordable.

One person found this helpful

BICKY

Five Stars

Reviewed in the United Kingdom on May 1, 2017

Verified Purchase

excellent

One person found this helpful

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