While the film does give way to Giallo tropes of convoluted mysteries with crimes committed by the sleaziest of characters, Who Saw Her Die? is worth a welcome watch for its attempts to inject social relevance and gravitas to the thrills it depicts.

…Don’t Look Now is inevitably greater than Who Saw Her Die? but there’s something rather eerie about such a similar story, even if Lado’s version is presented in a far less ethereal, more procedural way…

Lado uses Venice almost as well as Nicolas Roeg did in Don’t Look Now (1973), which also covers the aftermath of the death of a child, with Lazenby running through the nooks and crannies of the city.

Weighted by parental anguish, it’s an unusually serious, well-crafted giallo with a particularly eerie Ennio Morricone score.