Leticia Roman from an alphabet murderer in LA RAGAZZA CHE SAPEVA TROPPO.
T IS A TESTAMENT to the worldwide impact of La maschera del demonio that Mario Bava be- came—for many devotees of the horror genre— synonymous with black-and-white cinematography. And yet, of the twenty-plus films he directed, only two were filmed in monochrome. The second was La ragazza che sapeva troppo, an important film in his canon— though perhaps more for historical reasons than for its intrinsic value. Despite two or three sequences that rank with Bava’s finest suspense set pieces, it’s an uneven picture, due in part to the fact that it exists in two very different versions, and perhaps also due to the director’s state of mind during production.
