The filmmakers aren’t particularly interested in political satire or scrutinizing social tradition, and, unlike Petri, they take the drama of the situation very seriously. Bazzoni & Rossellini’s film differs in that it is more concerned with exploring film noir tropes and styles from a dream-like point-of-view. There are other gialli and gialli-adjacent Italian arthouse films, such as Elio Petri’s A Quiet Place in the Country (Italian: Un tranquillo posto di campagna, 1968) and Investigation of a Citizen Above Suspicion (Italian: Indagine su un cittadino al di sopra di ogni sospetto, 1970), or Michael Antonioni’s Blow-up (1966). Dino Tavella’s The Embalmer (Italian: Il mostro di Venezia, 1965) was informed by Gothic creature-features, Massimo Dallamano’s A Black Veil for Lisa (Italian: La morte non ha sesso, 1968) focused on the police procedural side of the equation, Umberto Lenzi’s Orgasmo (aka: Paranoia, 1968) delved into chic fashion and sex, and Luigi Bazzoni & Franco Rossellini’s The Possessed (Italian: La donna del lago, 1965) took an arthouse approach. Still, it took until the end of the decade for the genre to solidify and become a full-blown fad, leaving room for directors of all stripes to take their shot at the formula. There were other Italian-made thrillers before it, but, in the end, The Girl Who Knew Too Much works as the chain link that connects Hitchcock, Hollywood noir, and the German krimi tradition to the black-gloved killers, luridly colorful photography, and extended murder set pieces of Bava’s own follow-up, Blood and Black Lace (Italian: Sei donne per l'assassino, 1964). While it is nearly impossible to track the precise inception of any film genre, Mario Bava’s The Girl Who Knew Too Much (Italian: La ragazza che sapeva troppo, 1963) is usually cited as the first in a long line of Italian thrillers colloquially known as giallo films (plural gialli).

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