MARY ARDEN as Peggy, the girl with the stolen diary in SEI DONNE PER L’ASSASSINO.
ECHNICOLOR IS INTERESTING,” Ernst Lubitsch once told an actor visiting the set of his 1943 film Heaven Can Wait. “[It’s] perfect for
this kind of picture, wonderful for musicals and com- edy. But . . . never shoot a drama or mystery in Technicolor.” 1
Mario Bava had disproved this dictum
with I tre volti della paura’s “Il telefono” and La frusta e il corpo, but with his next picture—Sei donne per l’assassino—he would disprove it with panache.
