Frank Wolff puts in a great performance here as a world weary cop in Milan assigned to a missing person's case where a middle aged man keeps referring to his little girl, who turns out to be a six foot tall nymphomaniac with the mind of a three year old! That's pretty sick seeing as all evidence points to her being sent to work as a prostitute.Wolff is one of these cops that isn't afraid to plant stuff on people, blackmail men who frequent hookers, or have his men slap pimps around. He's also very likable as for every bust he makes, he feels the weight of every crime that goes unpunished, so he winds down at night while playing the guitar, treating his sinusitis, and banging his wife. During the day he and his subordinates start visiting whore houses in order to track down the missing girl which leads him to befriending hooker with a heart Herrero, who might be the key to the whole case. For a change its Herrero and Wolff's missus are the one who become sort-of friends, leading to all sorts of philosophising and what not. Another plot thread concerns that of the missing girl's father. A man who just wanted to look after his daughter, what becomes of a man who's only reason for living is missing, and what is he going to do to those responsible, as he highly suspects that one of his neighbours is the kidnapper. The 'identity of the kidnapper' plot I guess has this film being marked as a giallo, whereas other say it's a euro-crime film. Who gives a crap? It's a good film. Not much by way of gore, or nudity, but the ending was certainly violent enough and the film also has characters that actually display feelings for a change. Duccio Tessari also directed Tony Arzenta and the two films share that highly-stylised look, and in this film Tessari includes a lot of hand held footage, and a lot of scenes where the dialogue is drowned out by external noise. You know what this film reminded me of? A Touch of Frost. I mean that as a good thing – Wolff does that thing Frost does where he constantly berates his subordinates ("Get a haircut").

This is relatively forgotten giallo and not very widely distributed. I was amazed by the image quality and high quality of production and the beginning certainly promises a bit too much. The long sequence in the moving bus is very clever and shows the early seventies city traffic. They used to film starting sequences like these in the 70's and 80's in Italy. The music's also very good.It's all downhill from there as the film just declines to an ordinary mainstream film pancake. The film also doesn't have twists and surprises as everything is told and explained which makes quite tiring movie experience. The plot is very linear and easy and also the dialogue is very tiring to follow as it's not very well written and translated and there's plenty of it and on top of that it's all dubbed. By far it's not the worst dubbing that i've seen but certainly having lots of dubbed dialogue in a crime drama certainly hinders any film.Also the group of the bad guys were very unbelievable and the final confrontation with them is really disappointing and beyond generic. Throwing a pile of dirty laundry on a villain who then suffocates and another one's head being pushed on a washing machine door who also suffocates. Looks too easy and stupid for the high production value this film has.Acting's actually good if compared with other giallos but it can't save this dreadful film. How can such a wonderful starting sequence end up in a such a disappointing film. It's amazing.

Spoiler warning! This early 70s movie, as the previous comments have already pointed out, is a mix of drama and "giallo" (in Italy a crime story is nicknamed "giallo", that is to say "yellow", because a very successful series of detective stories published before WWII by Mondadori had yellow covers). "La morte risale a ieri sera" is marred by poor acting, silly dialogues and forced plot lines, but remains enjoyable as an overall view of the (north)Italian society of almost forty years ago. However, the title is incredibly meaningless: it doesn't allow the occasional viewer to tell this movie from thousands of other Italian crime stories of the 70s. The book which the movie is based upon was written by Giorgio Scerbanenco and entitled "I milanesi ammazzano al sabato"(=People who live in Milan kill on Saturday): it ironically refers to the fact that "milanesi" are people so hard-working that they kill only when they do not have to go to work! This attractive sociological touch is completely lost in the ultra-generic title "The death occurred last night".

Part giallo and part drama, this movie's been overlooked by both the "mainstream" critics and the Italian-horror fans alike, and that's a shame, because it's one of Italy's more serious genre efforts of the 70's. The distraught father's race to find his kidnapped daughter before the police do, is both tense and poignant. It's free of the exploitative elements most genre films have, and along with Tessari's other thriller (Bloodstained Butterfly), one of the most mature Italian thillers of the decade. The ending is painful without being gratuitous, and well above something Hollywood could handle: compare the father's obsession to find the girl in this to Cage's in 8MM and be amazed at how crassly the latter is constructed. See this one!