Short Night of Glass Dolls (1971)

Sadly Over-hyped

It's entirely possible that sending the audience out feeling lousy was intentional

By the time the dramatic fireworks start popping off, each one feels earned.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

It's not every day that you see an entry into an Italian exploitation subgenre - giallo - and see possible inspirations for Stanley Kubrick's later career.But then, "Short Night of Glass Dolls" really isn't a giallo. There's very little violence here, or lurid shock tactics. The sex and nudity isn't gratuitous or erotic and is saved for one very specific scene.What "Short Night of Glass Dolls" is, is a brilliantly understated and gripping thriller, the horror of which gradually dawns on you just as it closes in on the comatose hero. The atmosphere is stifling, as in a room slowly filling with odorless gas. This is one mystery you almost wish you hadn't started to follow, but the execution of it is masterful.

And perhaps the only one, as well. I mean, how many others in this genre were even set in a Communist city (here, Prague), let alone had such a strong political subtext? Though this isn't really a giallo in the traditional sense, it's more of a straight mystery (there is no gore, but some nudity - even senior-citizen nudity!). The "hook" of the film (a man who appears to be dead to everyone but whose mind is still working and is trying to remember what happened to him) is original and gripping. The final 5 minutes are suspenseful. But in the middle the movie fizzles and becomes dull, with a more or less obvious plot, a lack of pace, and uninspiring performances. It also features one of Ennio Morricone's less memorable music scores. ** out of 4.

A journalist who is in a coma slowly remembers how he got to the hospital. At the hospital, only he knows he is alive but cannot speak to the doctors who think he is almost dead. Scenes at the hospital are interspersed with the journalist (Jean Sorel who bears an uncanny resemblance to Robert Redford) slowly retrieving his memories of romancing his girlfriend (the wooden Barbara Bach) in Prague, whom he saved from some sort of political scandal. We are treated to yet another great Morricone - Edda Del Orso collaboration while they walk around Prague kissing each other. But soon the girlfriend disappears and the rest of the film is about the journalist trying to track her down with the help of a colleague (Ingrid Thulin) who is madly in love with him. While also trying to stay alive at the hospital where everyone thinks he is dead.There are some great set pieces. This was obviously a low budget film. There are little or no long or wide angle shots. The ending is simply spectacular. I did not see it coming. Barbara Bach ruined the film for me a little bit. I did not find her to be attractive at all. Posters on the message board suggest that Stanley Kubrick was inspired by this film when he did the orgy scenes in Eyes Wide Shut.Aldo Lado, the director says in his commentary that this film is about the old feeding on the young to stay alive. Somewhat prophetic, considering Europe's declining birth rates which would lead to young people having to take on the burden of providing welfare for an aging population.

The idea of being buried alive will always be one of the most dreadful prospects that one could fear. Of course, this fear has made its way into films over the decades - interestingly, two 1971 gialli strongly feature this theme, or to be more precise, that of paralysis. Both films also feature Barbara Bach, so clearly one borrows from another...The other film of which I allude to is 'Black Belly of the Tarantula', which with it's Bond Girl cast and wonderful score may at first seem more alluring, but it is this film that carries off the subject matter with more aplomb. While 'Black Belly...' has the usual visual flair expected of the genre, it also sadly doesn't break the genre mould in the rather weak ending. 'Short Night of the Glass Dolls' delivers one of the strongest finales of any giallo I have seen - so for me, it has to win out of the two.Adding to the more unsual features for a giallo is the setting in Prague - some beautiful architecture and beautiful cinematogrpahy add to the slightly otherworldly feel of the film, which in that sense nods to some of Argento's finer works.One scene in particular, with a murder victim being slowly revealed (in a fridge) adds to the credit that Aldo Lado should take. As with many gialli, the script and dubbing can be unintentionally funny, but the visuals and skilled direction make up for this.Those looking for several dramatic death scenes may be a little disappointed - which 'Black Belly of the Tarantula' certainly delivers - but this film is more coherent as a whole.