“It’ll take you… apart!”

Few films embody the essence of the 1970s Italian giallo scene quite like Armando Crispino’s Autopsy (Macchie Solari). This macabre gem not only weaves a gripping murder mystery but also drenches it in the feverish, sun-scorched paranoia of its Roman setting. Half a century later, Autopsy remains a haunting exploration of obsession, trauma, and the sinister intersection of science and faith.

Set during an oppressive heatwave, the film follows Simona Sanna (played with icy brilliance by Mimsy Farmer), a young pathologist obsessed with distinguishing suicides from murders for her thesis. Simona’s world is thrown into disarray when a young woman connected to her philandering father is found dead in an apparent suicide. Teaming up with Father Paul Lenox (Barry Primus), the victim’s priestly brother, she embarks on a labyrinthine quest to uncover the truth.

What begins as a clinical investigation quickly spirals into a hallucinatory descent. Crispino blurs the lines between logic and madness, crafting an atmosphere that’s as suffocating as the Roman sun baking its characters alive.

The film’s unsettling tone is amplified by Ennio Morricone’s score, which combines eerie whispers, discordant strings, and unnerving vocalisations. Morricone’s work here is a masterclass in auditory unease, immersing viewers in Simona’s fractured psyche.

Crispino’s direction leverages the giallo’s visual trademarks—lurid colour palettes, striking cinematography, and gruesome set pieces. The morgue scenes are particularly effective, juxtaposing clinical sterility with grotesque detail.

Autopsy delves deeper than the standard giallo fare, exploring themes of mortality, guilt, and the fragility of human connection. Simona’s profession as a pathologist isn’t just a plot device; it’s a metaphor for her attempt to dissect the inexplicable chaos of life and death. Her growing bond with Father Lenox adds a layer of spiritual tension, as the priest’s faith collides with her scientific detachment.

The film’s use of solar flares as a narrative device is both inspired and unnerving. Crispino ties the sun’s erratic behavior to the characters’ unraveling sanity, making the heatwave feel like an omnipresent antagonist.

While Autopsy didn’t achieve the same level of fame as some of its contemporaries, it has earned a devoted following among giallo enthusiasts. Its fusion of psychological horror and murder mystery sets it apart, offering a chilling alternative to the more stylised works of Dario Argento or Mario Bava.

Fifty years on, Autopsy still holds its power to disturb and intrigue. It’s a film that invites repeated viewings, each time revealing new layers of meaning and menace. For fans of the genre, it’s a must-watch; for newcomers, it’s an unsettling introduction to the giallo’s darker, more cerebral side.

• Saul Muerte