In 1960s Paris, the handsome and disturbed Émile targets women he deems too depressed to live, using a child’s scarf as his weapon. The police fail to make a connection, seeing him as a killer with no motive. With few leads, Inspector Simon Dangret takes charge of the investigation, resorting to unorthodox and occasionally unethical methods in his pursuit. Dangret reaches out to the people of Paris over the television, warning them of the killing spree, before he addresses the strangler himself, begging him to come forward and stop his crimes.
As the body count rises, Dangret enlists the help of Anna, a beautiful woman who believes she's the next potential victim. Together, they navigate the dark underbelly of Paris, challenging ethical boundaries to apprehend the elusive killer. Will their forays into the mind of the killer lead to his capture, or is the strangler simply too smart to catch?
The Strangler’s visual style displays early Giallo aesthetics, utilizing suspenseful camerawork and a haunting soundtrack. There are some astoundingly beautiful shots, although occasionally the experimentation will fall flat for modern viewers: Tricks for placing the camera and occasionally thoughtless editing create some minor but obvious plot holes. Music is as central to The Strangler as the murderer. The camera guides us through the streets, bars, and markets of Paris, exposing us to its many sights and sounds. It is a very French film to the point those who dislike Parisian culture may find it obnoxious at times.
Some scenes can be head-scratchers, especially for those who don’t speak French: Double entendre and 60s slang can be a little hard to translate. All in all, those looking for a thrilling European film from the 60s will not be disappointed. The Strangler has a strangely compelling cast and enough cinematographic beauty to keep any classic film fan engaged. Highly Recommended.
Where does this title belong on public library shelves?
Crime Drama Section: Given that The Strangler falls under the category of crime drama, it should be prominently placed in the crime drama section of the library. This ensures that patrons interested in suspenseful and thrilling narratives, particularly those centered around criminal activities, can easily locate and access the title.
International Film Section: Since The Strangler is also identified as a French film, librarians should consider placing it within the international film section. This allows patrons with an interest in international cinema to discover and enjoy films from different cultures.
What kind of film series could use this title?
Serial Killer Movie Series: In film clubs or series focused on the theme of serial killers, The Strangler can be a captivating addition. It allows students to compare and contrast different approaches to portraying serial killers in cinema, fostering discussions on storytelling, psychology, and societal reflections.
French Cinema Series: As part of a series on French cinema, particularly from the 1960s, educators can screen The Strangler alongside other influential films from that period. This provides students with a comprehensive understanding of the cinematic landscape during the 60s in France, exploring artistic movements and cultural shifts.