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The Fifth Cord
[Blue Underground]
1971; color
Directed by Luigi Bazzoni
Starring: Franco Nero, Silvia Monti, Wolfgang Preiss, Ira von Fürstenberg & Edmund Purdom
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I'm not sure if something got lost in the translation from the original Italian title (Giornata Nera Per L'ariete) but - as a black glove is left by the killer at the scene of each murder, each time with an additional finger missing - The Fifth Finger would have probably been a more appropriate title for it's US release than what they used, The Fifth Chord. The literal translation is Black Day For The Ram, and there is an astrological tie-in in the sense that the killer is an Aries (AKA the sign of the ram.) The reference is almost secondary to other seemingly more important aspects of the plot though, which could have been drawn on for a title. (For example all the murders occur on Tuesdays.) At any rate, this Giallo, while nowhere near a landmark of the genre, more than makes up for it's overly confusing plot with great shot selection and cinematography - plus it's got a cool, swingin' Ennio Morricone soundtrack to boot. As with all Gialli, we've got our mysterious, black gloved murderer, as well as a list of suspects who all have ties to—but not necessarily reasons for killing—the victims. And, of course, something to hide. The main focus of the story, and the police's number one suspect for a time (which clearly means he's NOT the killer), is a frequently drunk newspaper reporter who's perpetually on his editor's last nerve. Not to worry though, because said editor will drop dead from a heart attack while being pursued by the killer soon enough. (Of course this happens right after the reporter threatens the suspected guy, but that's just a coincidence of timing.) His assignment is to get more info about a brutal beating that's generated it's own cloud of mystery for various reasons. As the reporter begins to investigate, bodies begin to pile up, and more and more twists keep driving him into a more manic state. (Not only to find the killer but also clear his own name.) Every time he thinks he's getting somewhere or tracking down a vital lead though, the inevitable swerve happens that adds another layer of confusion to the situation. (There's even a subplot involving some privately shot porn and voyeurism that connects at least two more witnesses and three potential suspects to the crimes, but that's just another red herring.) One of the other aspects of The Fifth Chord that adds to it's appeal and sets it apart from so many similar films, at least for me, is that there constantly is a sense of motion. Hardly anyone remains still for any extended period of time, and if the actors are stationary the camera is constantly moving around them - thus ratcheting up the tension on another level. I'm definitely gonna watch this one again, and I'm pretty sure I'll walk away even more satisfied after that viewing.
—Giallo Biafra
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