The catwalk is a river of light and impossible beauty, fabrics shimmering under the heat of the lamps. But backstage, in the shadowed corridors where ambition curdles into obsession, something far colder waits. Nothing Underneath (1985), or Sotto il vestito niente as it breathed on its native Italian shores, plunges us headfirst into the blinding glare of 80s Milanese high fashion, only to reveal the chilling darkness hidden beneath the silk and sequins. It’s a world where image is everything, and disappearance is terrifyingly easy.
Glamour and Gloom
The dread arrives via psychic tremor. Yellowstone Park Ranger Bob Crane (Tom Schanley) doubles over, inexplicably sharing the terror of his twin sister Jessica, a rising star on the Milan modeling scene. He sees flashing images, scissors glinting with murderous intent, and knows something is horribly wrong. Dropping everything, Bob flies to Italy, a rugged American naïf stepping into a viper's nest of designers, photographers, agents, and impossibly beautiful women – any one of whom might know what happened to his sister, or worse, be involved. It's a classic giallo setup, transplanting the genre's familiar tropes – the amateur detective, the stylish setting concealing secrets, the black-gloved killer with a fetishistic weapon – into the cutthroat universe of haute couture.
Director Carlo Vanzina, primarily known alongside his brother Enrico for churning out popular Italian comedies, proves surprisingly adept at crafting suspense here. Working from a script co-written with Enrico Vanzina and Franco Ferrini (who penned Argento's Phenomena the same year), he uses the fashion world not just as a backdrop, but as an active participant in the horror. The relentless pace of shows, the cattiness backstage, the constant pressure to maintain an flawless facade – it all creates an environment where desperation festers and secrets are currency. Vanzina captures the intoxicating energy of 80s Milan, a city then solidifying its status as a global fashion capital, making the intrusion of brutal violence feel all the more jarring.
Faces in the Crowd
Tom Schanley carries the everyman perspective effectively, his earnestness contrasting sharply with the jaded Europeans surrounding him. We feel his mounting frustration and fear as leads dry up and the industry closes ranks. He finds a tentative ally in fellow model Barbara (Renée Simonsen, a genuine Danish supermodel of the era, adding a layer of authenticity to the proceedings), whose initial helpfulness gradually deepens into something more complex as the danger escalates. Does her insider knowledge make her a target, or does she know more than she lets on?
And then there's Donald Pleasence. Stepping in as Inspector Danesi, Pleasence brings his signature gravitas and world-weariness, instantly grounding the film whenever he's onscreen. Though perhaps not his most demanding role, his presence feels like a comforting genre signifier, the seasoned professional wading through the beautiful chaos. It’s a small part, but his weary sighs and penetrating gaze lend credibility to the investigation. Reportedly, Pleasence was a consummate professional on set, delivering his lines with minimal fuss despite the sometimes chaotic Italian production style.
Beneath the Surface
What elevates Nothing Underneath beyond a standard stalk-and-slash is its atmosphere, heavily indebted to the pulsing, synth-heavy score by the legendary Pino Donaggio. A frequent collaborator with Brian De Palma on thrillers like Carrie (1976) and Dressed to Kill (1980), Donaggio knows precisely how to blend elegance with menace. His music underscores both the runway's hypnotic rhythm and the killer's stealthy approach, creating a soundscape that feels quintessentially 80s yet undeniably unsettling. The film revels in the visual language of the era – sharp suits, big hair, neon lights reflecting off rain-slicked Milanese streets. The practical effects surrounding the murders, particularly the killer’s signature use of scissors, retain a certain visceral quality that digital trickery often lacks. Remember how genuinely sharp and threatening those blades looked glinting on grainy VHS?
The film was a significant hit in Italy, tapping into the zeitgeist of the nation's fashion boom. Its success spawned a sequel, Too Beautiful to Die (Sotto il vestito niente 2, 1988), though without the Vanzinas' involvement, and a much later, loosely connected follow-up in 2011. For international audiences discovering it on video shelves, often drawn by lurid cover art promising thrills and skin, it offered a slick, accessible entry point into the stylish world of giallo, even if it lacked the baroque artistry of Argento or the brutal intensity of Fulci. It’s more straightforward, perhaps, but its setting gives it a unique flavour. There's a persistent rumour that the script drew inspiration from real-life anxieties and whispered stories circulating within the demanding fashion industry at the time, adding a frisson of uncomfortable reality to the glamorous horror.
Final Cut
Nothing Underneath isn't a deep philosophical dive, nor is it the most complex mystery the giallo genre ever produced. Its plot mechanics can feel a little familiar, and some character motivations remain surface-level. However, it succeeds wonderfully as an atmospheric time capsule and a genuinely tense thriller. It perfectly captures the allure and the anxiety of the 80s fashion scene, using its unique setting to generate suspense and unease. The performances are solid, Donaggio's score is killer, and Vanzina delivers stylish thrills that stick with you. It’s the kind of movie that made browsing the horror/thriller aisle at the video store so rewarding – a slick, slightly sleazy, but undeniably entertaining slice of Euro-cult. Doesn't that final reveal still pack a nasty little punch?
Rating: 7/10
Justification: The film scores highly for its fantastic atmosphere, iconic 80s setting, effective use of giallo tropes, standout score by Pino Donaggio, and overall entertainment value as a stylish thriller. Points are deducted for a somewhat predictable plot trajectory and lack of deep character development compared to the genre's best. Still, it's a compelling watch that perfectly blends glamour and dread.
Final Thought: A glossy, sharp-edged giallo that perfectly captures the fatal attraction of 80s high fashion, Nothing Underneath remains a wickedly enjoyable slice of retro Italian thrill-making.