Plantiana Yawn. Poorly Filmed Snooze Fest.

Stevecorp Don't listen to the negative reviews

Dotbankey A lot of fun.

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

bkoganbing With such shapely feminine types as Anne Bancroft, Marie Windsor, Mamie Van Doren, and Diana VanderVlis, The Girl In Black Stockings surely boasts one of the sexiest casts of women ever in the same film. If you're a leg or a breast man, you can't go wrong with this film.As for the story it's your average B picture whodunit. All of these people are at a resort lodge in Utah when a whole lot of murders start to happen. Lex Barker while on a date with Bancroft discovers the body of the first victim. Two more murders follow and one accidental death of a presumed suspect occurs when sheriff John Dehner and deputies go to question him. Marie Windsor has an interesting part her. A veteran of many a noir film, Windsor is the sister of her quadriplegic brother Ron Randell who owns the lodge. Many years ago Randell developed a psychosomatic quadriplegia when he could not save a woman from drowning. Windsor then dedicates her life to serving her brother. Usually Windsor played sex pots in films, this represents a change of pace for her. But don't kid yourself, she holds her own in beauty with the rest of the pulchritude.As for Randell, he laces his part with appropriate bitterness and he'll be the one you remember if you can take your eyes off the feminine beauty for a bit.In smaller roles are such future stars as Stuart Whitman who arrives at the lodge looking for his runaway bride and Dan Blocker seen briefly as a bartender.The Girl In Black Stockings despite a cheap production and lurid title is a competent enough mystery. And frankly I did not see who the murderer was.

Gangsteroctopus It's astounding how many reviewers here have given this either high marks for being a well-made film noir(-ish) murder-mystery, or for it's high camp value. DO NOT BE FOOLED: this movie doesn't qualify on either the level of basic competence, or on the so-bad-it's-good scale. It's just plain bad, in every way imaginable.But let's get something else out of the way first: for those who want to claim a 'Twin Peaks' connection for this film (which is the reason I was curious about it, initially), such an assertion is basically a bunch of garbage, grasping at less than even tenuous similarities and standard murder-mystery tropes. A girl is murdered. It occurs in a small town. There's an Indian/Native American. And a sawmill. THAT'S IT. David Lynch and Mark Frost did not rip this movie off - and I say that as someone who's not even much of a 'Twin Peaks' fan.Okay, now that we've cleared that up, what about the film itself? You know it's gonna be bad from the very first lines of dialogue exchanged between Lex Barker and young Anne Bancroft. It's the kind of meaningless, pseudo-hip banter that has zero meaning and makes you want to slap the screenwriter, tell him, "Try writing some words that sound like they might come out of the mouth of an actual human being, you hack!" But the main problem (one of MANY problems) is that no one seems to take the murder particularly seriously. Basically John Dehner just sort of wanders around, occasionally asking locals somewhat germane questions, but mostly just gossiping, catching up on their relationship woes, chitty-chat. This dumb-a** couldn't solve the mystery of who put the cookie in the cookie jar.And then there's the guy who owns the motel, the psychologically paralyzed (say what..?) guy who basically sits around (well, he can't do much else, I guess) spouting off some of the most hate-filled, vile, misogynistic bile that you're likely to hear outside of a lockerroom. Now, initially, you think, 'Hunh. That's something of a twist: not romanticizing this character, or trying to make him this sympathetic type' - the way they almost always try to do with pretty much any disabled person in movies and on TV, even nowadays. But after about 30 seconds of this guy, you'll change your mind and start hoping that when Anne Bancroft and Marie Windsor take him in the pool for some hydrotherapy that they'll both get phone calls and leave him to make out on the bottom with the Creepy Crawly. (Okay, I know that they didn't have those back them, but you get the point.) Who the hell would stay at this lodge? There's a common dining room, or restaurant, and every night the customers have to share it with this wheelchair-bound a-hole, watching him get drunk and rave about how much he despises the fairer sex. Yeah, THAT's what I want for dinner theater. How did this guy get into the lodging business, when all he does is bitch about how running this inn puts him into constant contact with the very species for which he is so overflowing with hatred? Like so much in this film (just wait until you hear Lex Barker's 'explanation' for the murderer's motives at the end of the film), it MAKES NO SENSE.And not just that - IT'S BORING! Apparently director Howard Koch told all of his actors to pause for several seconds between each line of dialogue, to savor the 'richness' of drivel they're all spouting (I've never heard so many words used to express so little); or maybe the heat or the altitude made them all punchy. It's bad enough that we, the viewers, don't care what's being said, but when the actors all sound like they're on Quaaludes...Never has 74 minutes passed so slowly, so excruciatingly.I will say that, as someone who loves the '50s as a design era, the Parry Lodge (and the adjoining boutique, the Pink Poodle) are pretty cool to look at; the fact that they shot this stinker on location is about the only thing this movie has going for it, although it also means that the Kanab Chamber of Commerce gets in a number of blatant promos for local businesses and sights. But apart from my interest in the era, this one is a complete and total loser.

telegonus This late fifties whodunit has some interesting credits. It was directed by the able and eclectic Howard Koch, and features three quite different actresses in major roles,--Mamie Van Doren, Anne Bancroft and Marie Windsor. Suave character man John Dehner is cast as the local lawman; ex-Tarzan Lex Barker is the male lead; Stuart Whitman and Dan Blocker have small roles; and Barker wrote the music score. This is the only movie I have ever seen that features a murder suspect who is a bitter, woman-hating man, psychosomatically paralyzed from the neck down, who can't even pour his own drinks or light his own cigarettes. Ron Randell plays him marvelously, and had the film been directed by Ingmar Bergman would surely have won a Best Supporting Actor Oscar. I wouldn't quite call this movie trashy, but it has a trashy feel to it, as it comes across in some ways as a sort of Southwest version of Peyton Place crossed maybe with Anatomy Of a Murder, the small-town black and white mood of which it strangely anticipates. Everyone in this movie has a secret. The question is, whose secret is murder? The pacing isn't strong here, and the dialog is variable. William Margulies' photography is excellent, however; and the settings,--the motel resort and small desert town--are perfectly realized. There is a nice feeling for people whose lives have fallen just short of the big time, and who are angry about it. As a result, more than in most movies, everyone seems more than capable of being a killer. I especially like the sense of isolation in the film, and with it the edge of danger. As with so many crime pictures of its era, it seems to be trying to say something about American life, and how materialism and ambition are destroying it. With its acerbic invalid in one corner, and its muslceman in the other, and all the beautiful women gallivanting about and making life miserable for everyone, this one, with sharper writing and a sense of the absurd, might really have risen and become an Antonioni-like commentary on the American Dream. As it stands, it doesn't come close, though some of its characters and images linger in the mind long after its over.

bmacv What can you say about a movie whose three female stars are Anne Bancroft, Marie Windsor and Mamie Van Doren? Well, that none of them is used at anywhere near her full potential (except maybe Van Doren, the sum of whose potential is exhausted at first glimpse). And that's basically the problem with this little tailfins-era whodunit about a serial killer at a Utah mountain lodge. Its very real potential is never delivered. The characters and plot strands are handled perfunctorily, mechanically; they're interesting and offbeat but not satisfyingly developed, so the solution comes as a bad surprise and something of a cheat. Owner of the lodge, Ron Randell, is a psychosomatically paralyzed woman-hater nursed by his doting sister (Windsor). Les Barker (not to be confused with Les Baxter, who wrote the score!) loses no opportunity to display his physique poolside as a vacationing L.A. attorney who's wooing the diffident Bancroft. Van Doren does her platinum-blonde bombshell shtik and John Dehner, as the sheriff, seems to have wandered in from a Western shooting nearby. The movie looks good, in a simplified, populuxe way, and winds up like a better-than-average TV drama from circa 1957. Too bad: The Girl in Black Stockings had all the makings of a more interesting movie.