Seven Blood-Stained Orchids

Seven Blood-Stained Orchids (Sette orchidee macchiate di rosso)

Movie · 1972 · 3 people

Umberto Lenzi directed and co-wrote Seven Blood-Stained Orchids (Sette orchidee macchiate di rosso), a giallo released in 1972. Italy and West Germany produced the roughly 91-minute thriller together. In Germany it was released as Das Rätsel des silbernen Halbmonds, marketed within the Edgar Wallace film series; it is counted as the 38th and last postwar Wallace film.

The story follows a serial killer who leaves a silver crescent in the hand of each victim. One of the women attacked, Giulia, narrowly escapes with her life. So as not to alert the killer, the police and the press let it be believed that she died, and under that cover Giulia sets out alone to track the attacker down. Antonio Sabàto, Uschi Glas and Pier Paolo Capponi head the cast, alongside Rossella Falk, Marisa Mell, Petra Schürmann, Claudio Gora, Marina Malfatti and Bruno Corazzari and Gabriella Giorgelli.

Roberto Gianviti and Paul Hengge worked on the script with Lenzi. The German company Rialto Film co-produced, the film was shot in Techniscope, and it opened in German cinemas on 30 June 1972. The casting of the German actress Uschi Glas was imposed by the German co-producers, and the editor Clarissa Ambach is credited only on the German version.

DirectorUmberto Lenzi

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Through different eyes

Action & Thriller Fan Puts pace, tension and set pieces first; little patience for slow drama.

A serial killer who leaves a silver crescent in each victim's hand, and a victim believed dead who goes after him on her own: that idea alone pins you to your seat. A running time of about 91 minutes keeps the pace tight too. Just know this: it has the period feel of the giallo, and some scenes may look old-fashioned today. For a thriller fan it is still a good pick for the night.

Cinephile Looks at script, editing and directing choices; keeps a distance from formula films.

Umberto Lenzi's giallo assembles the genre's standard ingredients, a serial killer with a signature, a mysterious object and a heroine under threat, into a smoothly running mechanism. Having the victim believed dead adds a good twist to the classic detective structure: the hunted becomes the hunter from behind a cover. The Techniscope format also gives the images a wide frame. But the marks of the Italian-German partnership are everywhere: marketing bolted onto the Edgar Wallace series, casting imposed by the German co-producers and two versions with different credits split the film's identity. The result is no genre masterpiece, but it is solid craft.

Family Viewer Asks whether the whole household can watch it; cares about humour and heart.

This is a serial-killer film and a typical giallo; it is definitely not one to watch with children. Attacks on women and fear are at the centre of the story. Adults who like thrillers may choose it, but it is the wrong pick for a family evening. Grandparents may not enjoy the harshness of the genre either.

These are not reader reviews: they are short editorial takes written from different viewer perspectives with AI assistance. Reader reviews are below.

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