One of my favorite aspects of the proto-Giallo period is the numerous variations that spawn from the central idea of a “mystery.” Some of the films from this period emphasize horror/gothic influences, while others focus on action and crime solving, but director Mino Guerrini’s Date for a Murder seems to be one of the first to introduce the themes of spies and espionage.

Knowing this before watching would have served me well. My first time through Date for a Murder left me confused and salty about why this film is included on almost all Giallo film lists. Generally speaking, Giallo films take a bit of time to ramp up the story. Typically, there’s an event (usually a murder or some other crime) that occurs at the beginning of the film of which the details slowly develop over the course of its runtime. As the viewer, we have time to revel in the artistic aspects of the film before the need to pay attention arises.

This is not the case with Date for a Murder. All of the plot elements that will be examined and expanded upon throughout the film are established in the first ten minutes, and if you’re not paying close attention you’ll find yourself lost at the film’s halfway point. This is not to say that the plot ISN’T convoluted because it certainly is, but I was able to approach my second viewing of the film expecting a combination of film noir complexities and 007 spy movie devices, and the experience was much more enjoyable.

Once the action gets going it doesn’t really let up. We’re treated to an hour of clue discoveries, suspect interrogations, chase scenes, and car crashes. None of which make you feel like you’re watching a Giallo film. It’s not until the start of the final act that we start to see the elements of  the Giallo formula. Vince is mistakenly convinced that Wally is dead and goes on a bender, but his girlfriend takes him to the piazza where he works out the final details of the mystery after the balloon vendor triggers an idea to get him back on track. What follows is a final chase scene, the killer reveal and demise, and character wrap up - all very Giallo-esque!

The film is far from perfect. If you’re detail oriented the convoluted plot will have you scratching your head trying to validate the deductive reasoning of Vince and Commissioner Giunta. The love interest between Vince and Fidelia seems to only serve as a time filler, although it’s possible that the filmmakers might have added Fidelia as a red herring. And the final revelation seems so far removed from the original mystery that it hardly seems important.

Flaws aside, as long as you manage your expectations, Date for a Murder is a fun film to watch. It’s not the most important film of the proto-Gialli era, but presents a few plot-related elements that would be imitated often during the genre’s classic period. George Ardisson is very likable as Vince and the pacing is quick enough to make you forget that you haven’t seen a black glove killer even once!