What Have You Done to Solange is one of those movies that you used to see being sold at horror conventions on grainy videotape. This is a giallo, an Italian/West German (?!?!) thriller/mystery/horror film. It is dubbed, and the dubbing seemed good to me. To my knowledge What Have You Done to Solange has never been widely released in the United States, and it took me about ten minutes to figure out why.
Enrico teaches at a Catholic girls’ school (college?) in London. A handsome Italian, he’s like a peacock strutting amidst a flock of peahens. Enrico rents a swinging bachelor’s flat even though he’s married and is having an affair with Elizabeth, one of his students. Later in the movie Enrico seems proud that their relationship is ‘pure,’ even though he spends all his time onscreen pressuring her to have sex.
Enrico and Elizabeth are on a boat on the river when Elizabeth witnesses a murder. The killer wears a long black frock and might be a priest. He or she seems to be targeting students at Enrico’s school, which already employs two sexual predators (Enrico and the teacher who peeks at the girls in the shower). By the way, the school’s dean gives Enrico’s relationship an unofficial thumb’s up.
Enrico is what passes for the hero in What Have You Done to Solange, which is this movie’s first big problem (out of three). Things might have been different back in 1974, but today a guy like Enrico would be in jail. At the very least, he is an unsympathetic character. After a nasty twist halfway through the movie, he’s not even vital to the plot.
What Have You Done to Solange contains a lot of symbolism – a white cat, four red apples wrapped in white paper, pins, a red towel – none of which is subtle. The murders are extremely brutal, and the misogyny of this movie is pretty in your face (the second problem). There’s no secret code. According to the makers of this film the girls do evil things like go to parties and do drugs and date and even have sex, and thus bring retribution on themselves.
The third problem with What Have You Done to Solange is that it doesn’t work as a mystery. In Dario Argento’s Deep Red you can figure out or at least guess the identity of the killer. That’s impossible here, because the writers don’t play fair. Solange is the key to the mystery, and she isn’t even mentioned until the movie is half over. If you are a fan of giallo, What Have You Done to Solange might be of interest; if not, don’t bother.