Antonio Margheriti is probably most famous among cult horror fans for his Gothic horror films, The Virgin of Nuremberg and Danse Macabre; and so it is fitting that his foray into the Giallo sub-genre is decidedly more Gothic than most. The film takes influence from a wide range of sources, one of which is shown by the central location; an old castle, not unlike any number of haunted house tales. There's also a set of characters, giving the plot a make-up not unlike that of any number of whodunits - and of course, the cat of the title, which takes influence from the great Edgar Allen Poe - only this time we've got a great big ginger moggy rather than the black cats that we're used to. The film is far more atmospheric than many Giallo's, and as the focus is always on the atmosphere...the plot does suffer a little. The film takes place in a castle known as Dragonston, and we are soon introduced to a decrepit, rat-infested, corpse. From there, we move to the dinner table, where we are introduced to an array of characters, most notably the 'master' of the castle; a self-professed madman who keeps an insane gorilla as a pet!
It has to said that this film is a huge mess; we've got subplots creeping in from all the over the place, and they include the likes of vampirism, crossed-loyalties and even the animal of the title, all of which don't serve any relevance to the film by the time we reach the conclusion. The cat itself is present during almost all of the murder scenes, but it would appear to be in the film only for aesthetic value - which is fine by me. The lushly Gothic atmosphere that the central location presents is a real standout, and director Antonio Margheriti delights in showing gargoyles, cobwebbed corridors and ancient paintings, all of which help to ensure that the film is a macabre delight. The murders aren't the over the top stylish affairs directed by the likes of Dario Argento, but the razorblade that most of them are committed with harks back nicely to the traditional Giallo. It's always a bonus when you reach the conclusion of a Giallo and it makes sense, and while not everything is completely tied up here and the final twist feels a little tacked on; the reason behind the murders isn't as absurd as it could have been, and the revelation scene is one of the best things Margheriti ever directed. The film can be a bit slow in places, and the incoherency gets a little too much at times; but I really enjoyed this film, and wouldn't hesitate to name it as a standout of the genre.
It has to said that this film is a huge mess; we've got subplots creeping in from all the over the place, and they include the likes of vampirism, crossed-loyalties and even the animal of the title, all of which don't serve any relevance to the film by the time we reach the conclusion. The cat itself is present during almost all of the murder scenes, but it would appear to be in the film only for aesthetic value - which is fine by me. The lushly Gothic atmosphere that the central location presents is a real standout, and director Antonio Margheriti delights in showing gargoyles, cobwebbed corridors and ancient paintings, all of which help to ensure that the film is a macabre delight. The murders aren't the over the top stylish affairs directed by the likes of Dario Argento, but the razorblade that most of them are committed with harks back nicely to the traditional Giallo. It's always a bonus when you reach the conclusion of a Giallo and it makes sense, and while not everything is completely tied up here and the final twist feels a little tacked on; the reason behind the murders isn't as absurd as it could have been, and the revelation scene is one of the best things Margheriti ever directed. The film can be a bit slow in places, and the incoherency gets a little too much at times; but I really enjoyed this film, and wouldn't hesitate to name it as a standout of the genre.