About as different as you can get from your average run-of-the-mill giallo, THE PYJAMA GIRL CASE is an unorthodox reinterpretation of the whole murder-mystery genre, shot through with that typical 'coldly detached' Italian style to give it that classy look. The film's success lies in the extremely clever workings of the plot, which plays out in two parallel strands: the investigation into the murder of a young woman and the troubled life of a young carefree wife. I won't spoil any of the film's (many) twists and turns, other than to say the outcome is both unexpected and pleasantly surprising; here's a giallo to keep you on your feet trying to work out what's happening, instead of padding a sub-standard storyline with the typical sex-and-violence exploitation ingredients.

At face value, this barely qualifies as a giallo yarn. Although the sleaze aspect is pretty high (thanks to the perverted efforts of a peeping tom neighbour) and the nudity is often in-your-face, there is little violence in the movie and the murder that opens the film is the only one you'll see. There is no string of screaming damsels in distress and no black-gloved killer out for revenge, although the horribly mutilated body is not for the weak of stomach – the film pulls off a nice idea by having the victim's body shown to the public in the hope of identification; in one fascinating scene we watch all the sexually repressed male characters checking out the corpse one by one. Instead of following a clichéd plot, THE PYJAMA GIRL CASE paints a realistic portrait of a number of flawed characters and their various interactions. Both the story of the girl's life and the police investigation are kept interesting throughout with plenty of conflict, clues and surprise happenings.

The film's direction is strong, thanks to Flavio Mogherini, and the handling of an atypical setting (Australia in this case) is pulled off well. Also particularly good are the cast, adding an extra level of involvement and feeling instead of just being the stock one-dimensional stereotypes so beloved of this genre. Ray Milland and Mel Ferrer contribute the name value as the retired detective and slimy professor respectively; neither is at his best but they both put in solid performances nonetheless. Dalila Di Lazzaro is fantastic as the tragic female lead, caught between the whims of her husband and her two lovers; similarly, Michele Placido and Howard Ross bring extra levels of sympathy and fallibility to their parts. At the end of the day THE PYJAMA GIRL CASE is different enough to be worth a look and highly successful in what it sets out to do: it keeps you guessing whilst weaving a complex but interesting storyline from start to finish. Definitely worth a look.

A quite curious case on display here - no pun intended. Then again, the "display" scene in the movie is based on an actual case! A case the movie is losely based on. As said million times before, Life is stranger than Fiction. This movie still tries to go as strange as possible.

Having said that, the two storylines evolving here are nicely cut and edited together. And while the main police character is quite funny, there are other characters too that hold the film. Our female main character for example, who does enjoy and play with her sexuality. Now some falsely may think or judge her for that. May even wish her bad things, which is never a good thing. A free spirited individual like that, cannot be contained. One should make peace with that, otherwise one may get hurt - which leads to more hurting of course.

A really stellar cast in a I guess strange Giallo as everyone seems to point out (I wouldn't call myself an expert but those who are say so). Still strange is not bad as I hope I made clear already ...

Crusty retired detective Inspector Thompson (a typically excellent performance by the always reliable Ray Milland) decides to figure out the identity of as well as the person who murdered a young woman whose mutilated body was discovered wearing yellow pajamas on a beach in Australia. Director Flavio Morgherini, who also co-wrote the intricate and intriguing script with Rafael Sanchez Campoy, relates the complex and grimly absorbing story at a deliberate pace, makes fine use of the novel and unusual Oz setting, adroitly crafts a strong melancholy tone (indeed, the extremely downbeat and brooding atmosphere gives this picture a surprisingly potent and poignant dramatic punch),delivers a satisfying smattering of yummy female nudity, and offers a convincingly detailed depiction of the methodical investigation. Moreover, Dalila Di Lazzaro contributes a powerfully moving portrayal of the forlorn Glenda Blythe, whose dismal inability to hook up with the right men who will make her happy in life begets heartbreakingly traffic results. In addition, there's also praiseworthy work from Howard Ross as cocky German stud Roy Connor, Mel Ferrer as smooth rich guy Professor Henry Douglas, Michel Placido as hapless weakling waiter Antonio Attolini, Ramiro Oliveras as arrogant jerk Inspector Ramsey, Eugene Walter as flamboyant homosexual Dorsey, and Giacomo Assandri as slimy creep Quint. This film warrants extra kudos for not having a 100% predictable narrative, with one particular central character meeting a shockingly abrupt demise about an hour into the movie. The sunny and stylish cinematography by Raul Artigot and Carlo Carlini provides an attractive bright glittery look. Riz Ortolani's pulsating score does the funky-throbbing trick. Husky-voiced singer Amada Lear warbles a couple of oddly effective songs. Worth a watch for giallo fans searching for something out of the ordinary.