DEADLY INHERITANCE (1968)

 

PHENOMENALITY: *uncanny* 
MYTHICITY: *poor*
FRYEAN MYTHOS: *drama*
CAMPBELLIAN FUNCTION: *psychological*

Contrary to the creative poster illustration above, the "perilous psycho" of DEADLY INHERITANCE doesn't wear a mask, and both he and his fellow conspirator are very ordinary-looking. This early giallo-- probably the only one by director/co-writer Vittorio Sindoni, whose other credits I don't recognize-- doesn't offer any sadistic set-pieces like the slightly later works of Dario Argento, and in many ways, INHERITANCE seems like a lot of the 1960s versions of "old dark house" movies. Sindoni may have seen Bava's groundbreaking BLOOD AND BLACK LACE, because he places a lot of visual emphasis on good-looking women. But there's never any doubt that the motive of the mystery killer is largely pecuniary.

In a small French country-town, a rich old fellow dies and leaves a will that has the heirs up in arms. The late father left behind three beautiful daughters-- Simone, Rosalie and Collette-- and a quirky-looking adopted son, Janot. At the reading of the will, the heirs learn that none of them can collect their share of the bequest for the next three years, when Janot comes of age. Why the old guy couldn't just put Janot's share in a trust is not raised by anyone, and soon, a mystery killer starts knocking off possible heirs, starting with Janot. 

Normally, these "all heirs die but one" stories make no sense, because the remaining heir will inevitably fall under suspicion of the crimes. INHERITANCE does have a work-around of sorts, but I can't claim the killings are anything watchable. Of the three main actresses, I only knew Femi Benussi, while I'd seen the guy playing Janot in the later giallo TORSO. Sindoni keeps things percolating well enough, though, and never better than an early scene, prior to Janot's demise, when the aforementioned Janot peeks on his adoptive sister Simone (Benussi) while she's showering. This seeming throwaway nude-scene does figure into the denouement, though, and it adds a little spice to the generally routine story. If Sindoni had worked a little harder giving the victims even minor characterization, I might have upgraded this flick's mythicity to "fair."