Night Ripper - Das Monster von Florenz

"The Monster of Florence" by Cesare Ferrario is based on the original book of Mario Spezi "The Monster of Florence"(1983).The film tells the story of accomplished writer,who tries to write the book about elusive serial killer who murders couples having sex in cars/or tents.Il Mostro firsts shoots both victims,then sexually mutilates women post-mortem.In 1986 Camillo Teti directed the second giallo "The Killer Is Still Among Us",which is based on the same criminal mystery.Teti's film is far more graphic and explicit than Ferrario's "The Monster of Florence"."Il Mostro di Firenze" is relatively sleazy,but almost all the killings are off-screen and there is absolutely no sexual violence.Still the opening double murder sequence is quite vicious and is perhaps the most effective in entire film.There is some suspense plus a bit of sleazy sex for anyone interested,but I can recommend "Il Mostro di Firenze" only for undemanding giallo completists.

Cesare Ferrario's "Il Mostro Di Firenze" aka. "The Monster Of Florence" (I bought it as "Night Ripper") of 1986 is certainly no Italian thriller highlight, and definitely one of the weaker gialli out there, but it is nevertheless not nearly as bad as the current average rating (of 3.3) suggests. Sure, the movie is at times pretty confusing, the killer's motivations seem a bit far-fetched, and the acting is definitely not the best, but, as far as I am concerned, this movie also has its qualities. The movie is quite creepy at times, and although it's certainly not the most suspenseful thing ever brought to screen, it has a certain eerie atmosphere, which is intensified by a pretty cool (though in no way outstanding) score.

Several gruesome murders of young couples have occurred around Florence since 1968. In 1985, when this series of murders has not yet come to an end, Writer Andreas Ackermann (Leonard Mann) is currently writing a book about the killings, and therefore works on some kind of psychological profile of the mysterious psychopath...

Leonard Mann is probably best known for his roles in Spaghetti Westerns such as "Forgotten Pistolero", "Three Amens For Satan" and "Chuck Moll", and although the guy may not be a great actor, he fits in his role of Andreas Ackermann very well, in my opinion. I also liked Bettina Giovanini as his beautiful girlfriend Giulia. Most of the performances in "The Monster Of Florence" are not too memorable, of course, but I've definitely seen worse. The story is admittedly quite confusing, but there are many moments of creepiness and suspense to keep the film from getting boring. As mentioned above, the score is also pretty good and contributes a lot to the atmosphere. The most frightening thing about this film, however, is still the dubbing, which is at times unbearable, at least in the German language version. Therefore, I'd try to watch the Italian version, if possible.

All things considered, "Il Mostro Di Firenze" is definitely not a very original movie, and confusing in many parts, but, as far as I am concerned, it is certainly not as bad as the low rating would make you think, and an entertaining time waster over all. Mildly recommended to my fellow Italian Horror buffs.

The Monster of Florence (Italian: Il mostro di Firenze) is a gripping entry in the giallo genre, directed by Cesare Ferrario. Loosely based on the real-life serial killings that haunted Florence between 1968 and 1985, the film delves into the psyche of a writer obsessed with uncovering the identity of the elusive murderer.

The narrative follows Andreas Ackermann, portrayed by Leonard Mann, as he becomes increasingly entangled in the investigation, blurring the lines between reality and imagination. The film's strength lies in its atmospheric tension, capturing the haunting beauty of the Tuscan landscape juxtaposed with the horror of the crimes.

Ferrario's direction maintains a deliberate pace, allowing the suspense to build organically. The cinematography is notable for its use of natural lighting and authentic locations, grounding the story in a palpable reality. The score complements the film's mood, enhancing the sense of unease without overpowering the visuals.

While The Monster of Florence adheres to certain giallo conventions, it distinguishes itself through its focus on psychological depth over stylized violence. The film refrains from gratuitous gore, opting instead for a more cerebral approach to horror.

For enthusiasts of true crime and Italian thrillers, The Monster of Florence offers a compelling exploration of obsession and the human capacity for darkness. It's a film that lingers, prompting reflection long after the credits roll.

I very much enjoyed this hard to find and much underrated film. I note that my print is somewhat longer than the running time generally quoted, so it is likely that there are heavily cut versions available and that might well affect the viewing pleasure, however uncomfortable. Bit late for a giallo and although it has many of the ingredients, this is based upon a true (still unsolved) true story and has an orchestral soundtrack much more somber than any giallo. Pretty sleazy stuff with some astonishing and creepy moments. Almost all the killings are by the gun but its all the dragging across the ground, the subsequent mutilations and the very fact that all victims are having sex in cars are what give this the giallo feel. Plus there is much, not unreasonable speculation as to the profile of the killer and this takes us into familiar Freudian territory, so much the preserve of Italian thrillers. Really well done with decent balance between shock/horror and serious consideration.

"The Monster of Florence", aka "The Night Ripper", brings a reasonably successful combination of two of my personal favorite horror sub-genres, and I honestly never thought a crossover between the two would be even possible! The film is a true-crime serial killer documentary, based on a series of unresolved murders as they occurred in the Italian province of Florence between 1968 and 1985, but simultaneously it also qualifies as a full-blooded Giallo.

To me, it was as good as unthinkable to turn a true crime into a Giallo effort, because gialli usually focus on gratuitous violence, sex, and sensationalism with very little (or none) respect and dignity for the casualties involved (*). But "The Monster of Florence" is different. The murders and the disgusting modus operandi of the killer are accurate to the smallest detail, but despite often shocking and explicitly portrayed, writer/director Cesare Ferrario never purely aims for cheap and gratuitous thrills. Quite the contrary, there's even room for the pain of the victims' families, illustrated via a harrowing sequence where the mother of one of the killer's previous victims visits the memorial place of the latest murders. You are not likely to see that in any other Giallo.

The Monster of Florence targets young couples and secretive lovers that geographically isolate themselves to make love in their car or tents. This makes the case somewhat similar to the set-up of the 70s cult classic "The Town that Dreaded Sundown", which was also inspired by a true and unresolved serial killer case. The film is told from the perspective of a struggling writer (Leonard Mann) who wants to publish a book about the murders and conducts his own private investigation to reveal the killer's identity. His fiancé works for a prominent newspaper and provides him insights of the latest facts. Ferrario's screenplay also carefully hints at a profiling of the culprit but doesn't go too far. Considering the era and country of origin, Italy during the 1980s, "The Monster of Florence" is a very atmospheric and content-driven thriller. The tone, performances, soundtrack, and photography are stunningly sober. Admittedly, however, this approach occasionally also leads to a slow pacing and slightly too many dull sequences. Nevertheless, highly recommended!

(*) The same real-life murder case also served as the inspiration for another Giallo, namely "The Killer is Still Among Us"/ "L'assassino è ancora tra noi", and that one is a much more prototypical one. Although also released just barely one year after the two last recorded murders, this film shamelessly exploits the brutal and violent nature of the murders, and the pain and suffering of the victims. It's actually one of the sickest gialli out there to find. Italians remain Italians, of course...