Deep End is a film about the awkwardness of transition and the disillusionment that inevitably follows a time of idealism. It was released in 1970, when the dying days of the Summer of Love were giving way to the cynicism of the 1970s; when people swept up in the promise of revolution finally had to face the reality of promises not kept.
Hatchet for the Honeymoon is not the kind of film to watch for a kill count or ingenuous murders. It is the kind of film to watch for paranormal and sartorial phenomena, ghosts, discotheques, mysterious deaths, horrifying old toys, and the narration of a “paranoiac.”
Forbidden Photos concerns itself with only one murder, rather than a series of them, which might, for some, put it at a distance from the giallo genre as a whole. If you are someone who comes to giallo cinema primarily for its stylized violence that will likely be the case.
The Bird with the Crystal Plumage is the one that cemented the giallo’s tropes: the elaborate title, the artist protagonist thrust into the role of amateur sleuth, a sinister killer in black gloves, bizarre supporting characters, brutal murders, hyper-stylized art design.
The score maintains this blend of offbeat styles that still manage to operate as a cohesive whole, becoming tenser and more threatening. It makes perfect sense in a film about the unreliable nature of perception.