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.
Morricone’s score is like a children’s church choir gone horribly, disturbingly awry. As accompaniment to a film that stalks the foggy labyrinths of Venice, you couldn’t ask for a more perfectly haunting and off-kilter collection of songs.
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.