Only very tangentially related, but is there a better argument in favor of nominative determinism than the director of Emmanuelle being named Just Jaeckin?
He used at least 4 names to sign his films. You can use his real name, Jesús Franco, which is much funnier in context. ;)
Oh, trust me, that’s not lost on me! And you’re right, it is VERY funny. 
From everything I can tell, his preference was to be “Jess” though. I think maybe only Lina called him Jesús regularly, and that’s because she could get away with it.
Y’know what, I think I’m just going to issue a blanket warning at this point: it’s probably best to just assume any Giallo trailer will be NSFW viewing.
#8 - The Night Evelyn Came Out of the Grave (Emilio Miraglia, 1971)
aka La notte che Evelyn usci dalla tomba
Alan, a wealthy aristocrat is haunted by visions of his dead wife, who is totally a ghost, and not at all part of a scheme by his new bride and/or Alan’s cousin and only heir to drive him mad and leave one or both of them with his wealth. Also, Alan lures red-headed sex workers to his mansion sex dungeon to torture and kill them, because they remind him of said dead wife, but that’s more or less dropped early on.
This isn’t really much of a traditional Giallo, as when killings take place, there’s never any doubt to the identity of the murderer. Instead, the mystery is whether there’s actually a ghost (there’s not) or anything supernatural going on (there isn’t), and if not, who is trying to drive Alan to madness (I’ll leave that one to you, but I can’t imagine you’ll be too shocked). Also, the whole sex worker torture/murder angle feels very tacked on in an effort to add luridness and sell tickets.
And I think I oversold the “horror” side of this, too. It’s really just a gothic mystery/psychological thriller.
But that said, it’s fun! Which might as well be the official motto of this whole thread. It’s competent. It’s fine. It’s pretty unremarkable. There’s zero need for anyone to seek this out and watch it, but there are far worse ways to spend–wait, it’s 103 minutes? Really? Never mind. That practically makes it Heaven’s Gate in terms of Giallo runtime. Skip it.
The Gioff’s Giallo Giourney aka There’s Always Room for Giallo standings, after eight entries:
- The Possessed (Luigi Bazzoni and Franco Rossellini, 1965)
- The Fifth Cord (Luigi Bazzoni, 1971)
- Torso (Sergio Martino, 1973)
- The Bird with the Crystal Plumage (Dario Argento, 1970)
- What Have They Done to Your Daughters? (Massimo Dallamano, 1974)
- The Night Evelyn Came Out of the Grave (Emilio Miraglia, 1971)
- Strip Nude for Your Killer (Andrea Bianchi, 1975)
- The Pyjama Girl Case (Flavio Mogherini, 1978)
Next time, on Gioff’s Giallo Giourney (aka There’s Always Room for Giallo), we’ll take a look at another Giallo-Poliziotteschi hybrid that… barely made an impression. Listen, they can’t all be winners, folks.