L'Étrangleur, or The Strangler, directed by the iconic Paul Vecchiali, is a twisted and unconventional take on the giallo genre, offering a chilling glimpse into the mind of a killer. With a jazzy, autumnal atmosphere, this 1970 French film is a unique, melancholic journey that, despite some flaws, remains an intriguing watch.

Vecchiali's film is an arthouse twist on the giallo, a sub-genre that would boom in popularity after The Strangler's release. The film centers on Émile (Jacques Perrin), a young man with a traumatic past who targets women he believes are depressed and better off dead. The audience follows Émile as he stalks his prey, a sinister jazz score underscoring his shadowy, menacing presence. This discordant pairing of image and sound effectively portrays the complex nature of the character and the film's overall tone.

A Meditation on Isolation and Hysteria: The Strangler is more than just a thriller; it's a deep exploration of isolation and a portrayal of collective hysteria. Émile's actions and motivations are a direct result of his traumatic past, and his killings are an extreme, twisted attempt at mercy. This adds a layer of complexity to the character, making him more than just a typical slasher film villain. The film also reflects on the impact of his actions on the wider community, showcasing the collective fear and hysteria that ensues.

The film has a distinct visual style, with autumnal hues and shadows playing a crucial role. The use of lighting and shadow is particularly effective in creating a sense of dread and mystery, often portraying Émile as a menacing, shadowy figure. The visuals, combined with the jazz-infused score, create an atmospheric and unique viewing experience.

While The Strangler has many strengths, it's not without its flaws. The pacing, for instance, can feel uneven, with some scenes dragging while others feel rushed. Additionally, some viewers may find the film's depiction of violence towards women disturbing, and the justification of Émile's actions through his trauma potentially problematic. The film also lacks the refined polish of some of its contemporary giallo counterparts, which may be off-putting to those seeking a more traditional, well-executed example of the genre.

L'Étrangleur is a unique and atmospheric entry into the world of giallo, offering a complex exploration of isolation and hysteria. While it has some drawbacks in pacing and potentially problematic content, the film's visual style, score, and intriguing portrayal of its protagonist make it a worthwhile watch for fans of arthouse horror and psychological thrillers.

So, if you're seeking a chilling, jazz-infused journey into the shadows, The Strangler may just be the twisted tale you're looking for.

???

The only way the plot of this movie is acceptable is if the viewer thinks that it's all through the deluded eyes of the killer. Women gratefully submit to his murder, usually with peace, sometimes with love. It's absurd. I can see maybe one woman actually being sick and wanting to die, but it just goes from victim to victim with the same unrealistic pattern.

Then the detective on the case acts like a low-key fan boy though he's a man in late middle age who loses sleep over cracking the case, once he meets the strangler he seems fascinated by his narcissistic ramblings and befriends the serial killer while running from the police with the perpetrator!

Unless this is meant to be a black comedy making fun of people who romanticize serial killers (that is a possibility though if so it's VERY dry) the plot is incredibly stupid. It's not a giallo, there's no mystery.

There's a film with Liz Taylor from the mid-1970s called Driver's Seat/Identikit that spoofs giallos with a mentally ill woman dressing up and planning her own murder in Italy but that flick while weird is brilliantly constructed. On the other hand L'etrangleur feels like a pretentious inside joke I'm not in on.

I love the atmosphere though, very beautiful film.

Émile (Jacques Perrin) has an interesting reason for being a killer. He sees what he does as a public service, taking unhappy women away from this world with his white scarf. Inspector Simon Dangret (Julien Guiomar) is on the case but the ways that he goes after the killer are just as morally suspect. There's also Anna (Eva Simonet), a gorgeous woman who feels that she's the next victim. Maybe she even wants to be that person. And then there's the thief (Paul Barge) who lurks at each scene and takes what cash and trinkets are left from each dead woman.

Directed and written by Paul Vecchiali, this giallo comes from the same year as Argento's The Bird With the Crystal Plumage. It may not have the same visual madness as that film but it does have a villain who looks like a hero, a child of a man damaged by seeing a murder when he was young using the same knit white scarf that he uses to snuff out lives today. The women that he murders would have just killed themselves regardless, he reasons on the phone to Dangret, so he was saving them. The breakup that Anne has just emerged from has left her feeling that life is worthless; she volunteers to Dangret to be the lure.

Unlike most giallo, we know who the killer is from the start. Yet each kill is so planned, so precise, such a murder set piece as the women give themselves to Émile. He isn't getting any sexual thrill from killing these women, unlike so many black gloved killers. These are mercy killings. It seems like the person he really wants is the cop.