
- Year
- 1972
- Country
- Italy
- Runtime
- 102 min
- Director
- Luciano Ercoli
- Updated
- 9 Aug 2026
- Obscurity
- cult (51/100)
- Also known as
- Cry Out in Terror · Death Walks at Midnight
Death Walks at Midnight
Ercoli's brighter, faster Death Walks. Nieves Navarro sees a murder and nobody buys it.
The second and sunnier of Luciano Ercoli's Death Walks pictures, both built around his wife Nieves Navarro (billed as Susan Scott). Here she is a fashion model who swallows an experimental hallucinogen for a magazine stunt and watches a woman battered to death with a spiked iron glove, except the killing she describes does not line up with any that happened. Ercoli plays it brighter and pulpier than the giallo norm, closer to a fumetti comic than to Argento, with gaudy fashion and a brisk sense of humour. Navarro is a real star and carries the paranoia without ever tipping into hysteria. Ernesto Gastaldi's script keeps the trapdoors coming. A giallo that actually wants you to have fun.
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Written about
- The giallo, 1963 to 1976
A line of yellow paperbacks, a killer in black gloves, and Mario Bava building the American slasher a decade before Hollywood cashed the cheque.
Filed alongside
The Perfume of the Lady in Black
Barely a murder mystery. A slow psychological collapse, and superb.
Death Walks on High Heels
Ercoli's best. Structurally cleverer than most of the cycle.
Short Night of Glass Dolls
Narrated by a paralysed man presumed dead. Unusual and very good.
The Case of the Scorpion's Tail
Martino at his most efficient. Nobody wastes a frame.
The College Girl Murders
The point where the black-and-white krimi tips over into full-colour giallo delirium.
Pieces
Spanish, incoherent, and gleefully stupid. 'Bastard! Bastard!'