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Extra info for Dario Argento
It’s a cat with nine tails. arno: A cat of nine tails, like the old naval whip. If we could just latch on to one of those nine tails, we’d be on our way to solving the puzzle. giordani: Yeah, but which one? The mystery begins with Arno and his niece Lori overhearing a snippet of conversation about blackmail. Arno uses Lori as his eyes, telling her to observe the people they overhear. The scene transitions to a robbery at the Terzi Institute for Genetic Research. Not long after, a scientist from the institute is pushed in front of a train, and a photographer takes a picture just as it happens, providing a clue that gets him killed.
A brief scuffle pushes Alberto through a high window, where he dangles from a ledge. Sam and a detective fail to pull him back up, and a spectacular effect that cost Argento a camera allows the audience to take Alberto’s point of view all the way down to the bounce and thump of his body on the pavement. Dying, Alberto confesses to the murders and begs Sam and Morosini to take care of his wife. The film gestures toward closure, but just when the credits might have started rolling, Sam notices that Julia is missing.
Ultimately, the scene plays for laughs, and not only because of the jibes at the perverts (even though the depiction, like the caricatured depiction of the gay antique dealer, is tinged with the homophobia that pervades the thriller and horror genres, as Harry M. Benshoff has demonstrated). Because the lineup has no relationship with the crimes whatsoever, the entire process of parading those whom psychoanalysts call aberrations as criminals ends up being a farce, a sign of the police’s ineptitude consistent with Sam as amateur detective being more capable of tracking the killer than the men who are actually trained to fight crime.