Incredibly long, slow and boring film. Took me 3 sittings to finish this one. 1 star for filler.I saw the follow up to this "Death Walks at Midnight" and thought it wasn't great, but it was entertaining, and cool parts, so it got a C, or 5 stars. Not so with High Heels. This movie just plain sucks. Here are the good parts: 1) The main actress was good, not great, her dance scenes were entertaining. The doctor, his wife, maid, and fisherman were OK. 2) The opening scene with the first kill was OK, not great. The woman getting cut up, again OK, not great. 3) Cinematography was good, again not great. Some of the scenes near the beach house were cool. Better to watch a travel video.Now here are the worst parts of this pile of crap: 1) Acting was trash. The French boyfriend, and his accent. The two cops, rubbish. The blond hair guy with his stupid stare and then the dress! The idiots at the bar, old lady and the fool next to her. The older guy selling the boat, trash. You see this guy walking around, like it means something. 2) The story was trash. It had some ideas that needed to be worked out. And for giallo it wouldn't have taken too long to fix it. But the story was so long, incredibly convoluted even for giallo. 3) Script/Dialogue was trash and repetitive. There's a scene where the idiot cops find the blue eye contacts and asks the female assistant to have them checked out, TWICE! There are scenes of people walking around, that the cinematographer took good aim to capture, that just takes years away from your life. There are numerous attempts by the cops, with zero charisma, at humor. It doesn't work. It bores and stalls the movie. 3) Yellow Vomit. We get to see the French Boyfriend puke out of the window, after drinking coffee/lemon, on top of a cop. Now, who the hell came up with this brilliant idea? Was it supposed to be more of this thing called comedy, or shock. I don't know.The music was just filler. I was basically bored and disgusted by this film. I don't remember the music. Editing was competent, but someone should have told them to cut all the boring inconsequential parts out. That would have cut down the boredom and moved this film along.So, I was thinking that since I liked "Midnight", I would give this a 2 or 3. But adding it all up. This film is a failure. 1 star. The only reason I would recommend watching this movie is if you're interested in studying it as a social experiment. After watching it, read the reviews and compare notes, and try to understand your fellow film aficionados. Current IMDb rating 6.5. It can be viewed for free on youtube.

After winning Death Walks at Midnight on eBay I started searching for the other film in the series,but was unable to find and DVD in sight.Talking to a fellow IMDber on the Film Noir board,I was thrilled to learn that Arrow has put out DVD/Blu-Ray boxset on the films,which led to me buying death some heels.The plot:After her diamond thief dad is murdered on a train, Nicole Rochard is asked by police if she know who could do that to her dad,and also if he told her where he put his last batch of stolen diamonds. Keeping family secrets closely guarded,Rochard tells the cops that she does not know anything. Whilst the police appear to accept her answer,a masked stranger wearing black gloves with blue eyes makes sure that Rochard is well aware that they believe she knows where the diamonds are.Whilst trying to figure out who the stranger could be, Rochard goes to the sink of her boyfriends house,and finds two piecing blue eyes contact lens.View on the film:For the first offering in the box Arrow hit a bullseye with their marvellous transfer,via the picture and various audio options being as sharp as a razor blade,and the set being packed with extensive,detailed extras.Cutting to the chase with a stranger getting killed on a train within the first minute (!) director Luciano Ercoli & cinematographer Fernando Arribas dice the movie with a visceral stylisation, Glistening against Stelvio Cipriani's dreamy score, Ercoli is surprisingly forward with the Giallo sex and violence,with restrained camera moves offering a vague glimpse of the murderer to the viewer,and Ercoli showing his wife at her most beautiful,with swaying tracking shots circling the glamorous clothes and primary coloured drenched locations that surround Rochard.Placing the black gloves on in Italy and the UK, Ercoli stabs the sensual naked flesh and elegant violence with a ruby red Giallo Film Noir atmosphere.Going outdoors in the UK, Ercoli gives the movie a frosty appearance,as the police dig deep into the mist to find the black gloves.Keeping the tension heated indoors, Ercoli masterfully uses ultra-stylish close- ups to capture death walking on high heels across Rochard's face. Deeply contrasting the psychedelic shades of the second flick in the series,the screenplay by Ernesto Gastaldi/Mahnahén Velasco and Dino Verde superbly keep the central mystery rooted as enticing, drastically different threads are slung round the Giallo heels. Tasting all of Rochard's decadence,the writers give the first half a jet-set chic Thriller,as everyone Rochard's meets looks at her with baby blue eyes. Taking a daring risk in killing off some of the main stars,the writers wrap the gloves with a brittle Film Noir Giallo mystery which tears away at the crisp high-life image Rochard has made.Looking beautiful in incredibly distinctive clothes,the beautiful Nieves Navarro graces her husband's film with a sparkling performance as Rochard. Erotically charging the Giallo with her wide eyes of fear, Navarro gives Rochard femme fatal spikes with a glowing force to stop the killer walking at midnight.

On the set of The Forbidden Photos of a Lady Beyond Suspicion (1969), redheaded Andalusian b-goddess Nieves Navarro had easily stolen the show from leading lady Dagmar Lassander – and the heart of first-time director Luciano Ercoli. Two years later, he made her the star of Death Walks on High Heels, the first half hour an extended (and highly exploitative) declaration of love to the stunning beauty and her ravishing assets; see Navarro with her thighs wide open in the taxi scene right at the beginning, the gorgeous strip sequence soon after, and certainly Miss Temptation 1972 doing her toenails – a ball for foot fetishists for sure, the superb soundtrack by Stelvio Cipriani serving as the sonic seducer. Sadly, the movie also has a script, penned by the Man with the Steal Claw, Ernesto Gastaldi, as usual an insipid whodunit proving once again that the often reveled "giallo" was nothing but the spaghetti variation of the reeking German Edgar Wallace "Krimis", the bratwurst smell suppressed with some squirts of rosso sauce. As a devout Catholic, Ercoli very well knew that the profane could only be dispelled by the sacred, and that's why Navarro made the difference: A work of unadulterated worship, High Heels leads directly to the inner sanctum of the Holy Church of Nieves.

A famed jewel thief named Rochard is slashed to death on a train. His daughter Nicole, a famous nightclub performer in Paris, is questioned by the police about some missing diamonds but she claims to know nothing about this. Nicole is then terrorized by a masked man with piercing blue eyes who demands to know where her father has hidden the stolen diamonds.The film is written by no less a figure than Ernesto Gastaldi, who is considered by some to be the father of giallo. The director, Luciano Ercoli, is interestingly perhaps better known as a producer or production designer. He more or less fell into directing as a cost-cutting measure -- one less person to hire. (Tim Lucas compares Ercoli to Brian DePalma... and there is some truth to that.)Who doesn't love composer Stelvio Cipriani, probably among the top composers in Italy (behind perhaps Ennio Morricone and Goblin for genre film). What we get here is rather sparse (many scenes have no music at all) but the man does what he does well. Not surprisingly, his work has been used by Quentin Tarantino, the champion of such films as this.A note on the lead actor, an American. Frank Wolff had bit roles in his first two films, Roger Corman's "I Mobster" and "The Wasp Woman". On Corman's advice, Frank Wolff remained in Europe and became a well-known character actor in over fifty, mostly Italian-made, films of the 1960s, including crime/suspense "gialli" and spaghetti westerns.Director Ercoli obviously does not have the name recognition of Mario Bava or Dario Argento, but he still knows how to make a great giallo (with a dollop of influence from Argento's "Bird With the Crystal Plumage"). A masked and gloved killer, a bit of mirrors, and an unhealthy fascination with eyes -- close-ups of eyes, false eyes, windows that look like eyes. Nobody knows eyes like the Italians!The Arrow Video blu-ray allows the viewer to watch either the Italian or English versions (because sometimes you need a dub, and sometimes you don't). The disc also comes with: Audio commentary by film critic Tim Lucas, by far the most knowledgeable non-Italian scholar of the Italian genre film. Introduction to the film by screenwriter Ernesto Gastaldi. A featurette comprising newly-edited archive footage of director Luciano Ercoli and actress Nieves Navarro. A career-spanning interview with composer Stelvio Cipriani. Italian genre fans (which includes pretty much all horror fans) will love this disc, part of Arrow's "Death Walks Twice" set.