What Have They Done to Your Daughters?

• The film is part of a loose trilogy about the exploitation of teenage girls that began with Dallamano's 'What Have You Done to Solange?' (1972); Dallamano died in a car accident in November 1976, before he could direct the planned third installment, 'Rings of Fear' (1978), which was completed by director Alberto Negrin.
• Inspector Silvestri is played by Claudio Cassinelli, with Mario Adorf appearing as the detective who hands him the case at the outset.
• The score was composed by Stelvio Cipriani, whose insistent, catchy main theme is regarded by genre historians as one of his most memorable giallo scores.
• Crime-film historian Roberto Curti, in 'Italian Crime Filmography, 1968-1980', called it the best of the mid-70s giallo/poliziottesco hybrids and praised Dallamano's direction as 'well above average.'
• The film grossed over 1.3 billion lire on its domestic Italian release, a solid commercial return as the giallo cycle blended with the rising poliziottesco crime-thriller wave.

The killer acts not as an individual psychopath but as a literal manifestation of the patriarchal establishment, suggesting the entire police force is unwittingly hunting a symptom rather than the disease of their own culture.

The recurring motif of mirrors and reflections implies that the victims are being targeted because they represent a purity the older generation can no longer recognize in themselves, making the murders a form of twisted self-loathing.

Silvestri's ultimate failure to see justice served suggests the film posits that accountability is impossible in a society where the judiciary and law enforcement are financially or socially tied to the perpetrators.

Rome's elite rot from the inside as Inspector Silvestri hunts a predator snatching schoolgirls for a high-society child prostitution ring. Dallamano strips the giallo gloss, leaving raw police procedural grit against a backdrop of moral decay. The investigation peels back layers of complicity, revealing that the true monsters wear suits, not masks. When the killer's identity surfaces, it's not a twist of madness but an indictment of a generation sacrificing its youth for perverted pleasure. The final confrontation offers no catharsis, only the sickening realization that the system protects its own while daughters vanish into the void.