“three gialli that would eventually be tied together in a loose trilogy (referred to as ‘the animal trilogy’, because each film’s title made mention of an animal--The Bird With the Crystal Plumage, Cat O’ Nine Tails, Four Flies on Grey Velvet) and would help revitalize the Italian thriller subgenre. The first of these three films, The Bird With the Crystal Plumage (see my review if you’re interested), was an international success—and was largely responsible for the spate of oddly named gialli that would dominate the Italian film scene for much of the early 1970’s. The success of Argento’s debut made finding financing for his second film, 1970’s Cat O’ Nine Tails a relatively simple task—and also ensured that he’d be able to work with some higher caliber actors than he had in his first stint behind the camera. The end result is a finely crafted gialli that isn’t as flashy and accomplished as his later works (like his masterpiece, Deep Red), but certainly shows signs of the developing sense of style that would come to dominate his work...
Ultimately, many hardcore Argentophiles regard Cat O’ Nine Tails as one of the auteur’s lesser works. And while it isn’t as masterful as his later gialli like Deep Red, it’s still a fine example of the director’s burgeoning talents. Couple this with some fine performances (particularly from Karl Malden), and a smart, inventive, and multi-layered script that’s filled with reversals and red-herrings (an early nod to the work of Hitchcock, most likely) and you still come away with a film that is better than many of the other gialli of the time period. If you love Argento, giallo cinema, or just a good old fashioned whodunit, then Cat O’ Nine Tails is well worth a look” –Mike Bracken, Mike Bracken’s Horror Films
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