"Who Saw her Die?" follows an artist in Venice whose daughter is murdered in cold blood. In his search for her killer, it is revealed that a young girl met a similar fate at a ski resort in the French Alps five years earlier. His search leads him to various suspects, including a pedophile lawyer, a priest, and others.Stylishly directed by Aldo Lado, who some credit as an auteur, "Who Saw her Die?" is a fairly standard giallo in that it doesn't offer its audience much in the way of innovation or newness—the narrative follows the giallo route through-and-through, hitting its marks along an intriguing (albeit sometimes slow) trajectory. It is at times dialogue-heavy with lots of "he said, she said" interactions and red herrings, and at times this grows tedious.The upshot here is the film contains some inventive and disturbing murder sequences, including a covert movie theater strangulation (predating 1980's "He Knows You're Alone" and 1997's infamous "Scream 2" scene), and the opening murder of the young girl in the Alps is palpable and disturbing. The killer in the film is also remarkably spooky, shrouded from head to toe in black garb and donning a funereal veil; the POV shots take advantage of this, as the veil is literally lifted over the audience's eyes. An eerie score by Ennio Morricone permeates through these scenes, sometimes over-played, but no less effective.The final reveal of the killer is rather bold given the time period and nation in which the film was made, although there is a slight twist that punctuates the last moments. All in all, this is a fairly routine giallo that is well-done in some regards, and a bit wonky in others. Fans of the genre will likely find something to be enjoyed in this mildly atmospheric outing. 6/10.

I must confess my impression of George Lazenby improved after watching "Who Saw Her Die", he was far more restrained than I expected, dare I say even improved the overall film which was otherwise a meandering tale that failed to find purpose.The general plot is disturbing enough (concerning a child killer) and unfolds well, but the subsequent self-investigation by Lazenby (as the grieving father) and track-down of the killer seemed too randomised and illogical. There's a few gripping moments after the initial horrors (Strindberg startled in the apartment was tense) but mostly the shocks are too well telegraphed to properly land more than just a glancing blow (e.g. the aviary scene). Too many extraneous characters brought into ephemeral focus appear to paper over a thin, largely arbitrary plot that runs out of road all too quickly. Adolfo Celi's supporting role seems largely frivolous and the statuesque Swedish beauty Strindberg is left to spin her wheels with little opportunity to become embroiled in the mystery.So Lazenby has been given the keys and does deliver the film to at least a decent standard, whilst the sets and exteriors are highly stylised and visual, typical for Italian thrillers of that era. Too many loose strands that just doesn't manage to knit all the threads together in one cohesive and compelling whodunit. Not bad, but just middle of the road in my opinion.

'Who Saw Her Die?' was the most unpleasant movie watching experience that I had in quite a while. Frankly, I think it's trash, so I'll try not to put too much energy into this write-up. After a not-horrible start it only continues to get dumber by the minute. After the daughter gets killed (which everyone knew would happen after a few annoying false alarms) it gets completely lost in Dullland®. I'd be lying if I said I could follow the plot, there were too many utterly useless characters to keep track off, and nothing what I read about the film has led me to believe that it all makes sense, either.The characters are walking, human shelves, the drama is unconvincing. My two favorite parts in this regard are the one in which Lazenby first tells his daughter that there is no time for her to play with the other kids, but then decides otherwise, holds her jacket and runs off without saying another word to have sex with his mistress, later to walk directly home, where, after a bit of sculpturing and getting a bottle of cognac ready he starts wondering where his daughter might be. "Hm, I wonder where that kid is...what's here name...I just wanted to offer her some of this delicious beverage." The other scene is in which the mother, after having lost her daughter abroad while under the care of her ?semi-divorced? husband tells him to "please listen to reason, please can't we just try to forget what's past." Yeah, move on, Franco! Our only daughter was murdered, let's just, like, forget the brat and try better next time!"The movie theater killing is indescribably ridiculous and the final point at which I gave the movie up. Later we have a pointless scene (which is only there to show off a nice location) that almost equals the aforementioned scene in ridiculousness; it's the scene in an old warehouse-like building. It has one character following a character following another character walking aimlessly, one character being attacked by another one, evil characters suddenly disappearing and a good one suddenly appearing. The movie ends appropriately silly so that nobody should be deceived in thinking that this is some kind of masterpie...good movie. The explanation WHY we had to endure all this is silly, but that's the least of it. It's also wafer-thin and that simply doesn't cut it. Also the bad English dubbing only adds to the flick's overall lack of quality.Even the music, easily the best part of the production - even without identifying the composer as the Morricone - becomes a repetitive nuisance as the main theme is not only overused but also always used in the same situation and you can actually tell exactly when it will start before it starts (which is ALWAYS when we get a look at one of the killer's body parts). It's also clumsily used when it cuts off abruptly because the film cuts away from the situation, just to come back again when the film cuts back on it. A real button-pusher's job.The seeing-the-action-though-the-unidentified-killer's-eyes giallo stick remains to be alien to me. What is the killer, a great white shark? Do I give a crap who it is? In the case of this movie certainly not. When the killer was identified (there was only one thing we could be sure of beforehand, that the killer is a guy who likes to wear dresses) I knew I have seen the guy before, but I couldn't even remember who the character was.Not even the title makes sense. Why is it called 'Who Saw Her Die?', the plot, at no point in the movie, is ever asking for any witnesses to the murder.Crap, I did put too much energy into a waste of time again.

Superior to his directorial feature, Short Night of the Glass Dolls, Aldo Lado delivers a one-two punch with this movie. Before getting to the plot points, I must Gush over Ennio Morricone's score. It is so haunting and wonderful that I rank it up there with the top horror scores like The Omen, The Exorcist, and Halloween(perhaps not a great score musically speaking, but potently effective). If you haven't time to watch the film yet, look up the trailer and you can hear bits of the main theme. Excellent.We find old George Lazenby hanging up his tuxedo from playing 007 and donning a shaggy hair-do and a 70's porn mustache. And, though physically fit, when shirtless, his body seems disproportioned and ugly. Someone else dubs his voice, which is moronic. A child killer is on the loose in Venice, often targeting little red-haired girls and beating their little brains out. Lazenby's daughter is stalked by a woman wearing funeral attire complete with black veil. Gloved hands? Check. Extended camera shots of killer's black shoes reverbing on cobblestone? Check. Point of view shots? Check. So, the little ginger gets nabbed and it is heartbreaking to see her floating facedown in the canal, bobbing slightly next to a boat. Lazenby, tortured by the death of his only child and blaming himself, finds comfort with this estranged wife as they try to work together to piece his daughter Roberta's murder with other similar murders in recent years.There aren't many bloody scenes, but we do get a very typical giallo kill where a man is stabbed with large shears next to his budgie aviary and as his body slumps, bloody, to the ground, the killer opens the cage door and the room fills with parakeets. Some of them even land on the body and hop around. Birds are a reoccurring visual theme in Lado's gialli. Very effective.Again, the score. God, it's great. If you haven't seen Aldo Lado's work before, check out Short Night of the Glass Dolls first, then this film. Even if you aren't a big horror or giallo fan, you will be drawn in. I feel his work rivals Argento in many ways.