Also known as: 4 mosche di velluto grigio (original Italian title)
Release Date: December 17th, 1971 (Rome premiere)
Directed by: Dario Argento
Written by: Dario Argento, Luigi Cozzi, Mario Foglietti
Music by: Ennio Morricone
Cast: Michael Brandon, Mimsy Farmer, Jean-Pierre Marielle, Francine Racette, Bud Spencer
Universal Productions France, Seda Spettacoli, 104 Minutes
“Exactly. You see before you a fully-fledged, highly-qualified private investigator with an extensive knowledge of modern science at his very fingertips. And, in spite of this, in three years of honest practice, I haven’t solved a single case.” – Gianni Arrosio
This is the one Dario Argento movie from the ’70s and ’80s that I had never seen and that has more to do with it never streaming anywhere. It’s been in my Prime Video queue for years and I check every month to see if it popped up on any of the services available on my Firestick. Well, it finally did!
It also irked me that it took me so long to see this because it is a part of the loose Animal Trilogy of films that Argento did back-to-back-to-back in less than two years from 1970-to-1971. This is the last of those films and the ones that predate it are The Bird With the Crystal Plumage and The Cat O’ Nine Tails.
Oddly, each film seems to be a slight step down with Crystal Plumage being my favorite of the trio.
That doesn’t mean that this one was bad, it just had two things working against it in comparison to the other two.
The first is that it was pretty predictable. My first hunch as to who the killer was, was correct. However, this could’ve just been due to only having the English language dub to watch, as the voice of the killer made it clear to me that it was probably a woman. I’m not sure how the voice came across in the original Italian language version and this giveaway could’ve just been due to a shit English dub.
The second thing that works against it, is that it was the least stylish and opulent looking of the three movies. It is nowhere near as vivid, cool and exquisite as Crystal Plumage and it also falls below Nine Tails, as well.
I did think the killer mask was creepy as hell and really cool, though. Like the other Argento giallo pictures, this plays like a proto-slasher flick. The slasher-y bits and the kills were all pretty good and the film wasn’t lacking in that regard.
I was also impressed with the end of the film, which features a slowed down, violent car crash.
Overall, this was a good giallo and a good movie in general. While it’s far from Argento’s best it’s still worth checking out if you are a fan of the man’s other work.
Also known as: Unsane (US alternative title)
Release Date: October 27th, 1982 (Tortona, Italy premiere)
Directed by: Dario Argento
Written by: Dario Argento
Music by: Goblin (credited as Claudio Simonetti, Fabio Pignatelli, Massimo Morante)
Cast: Anthony Franciosa, John Saxon, Daria Nicolodi, Giuliano Gemma
Sigma Cinematografica Roma, 101 Minutes, 91 Minutes (edited)
“Let me ask you something? If someone is killed with a Smith & Wesson revolver… Do you go and interview the president of Smith & Wesson?” – Peter Neal
Tenebrae or Unsane, as its also been called, is one of the Dario Argento movies that I’ve seen the least. In fact, it’s probably been twenty years since I last watched it. I kind of regret not revisiting it sooner, though, as my experience with it this time was pretty incredible.
While it’s not the best of Argento’s stories, it is one of his best directed films and it has some of the best visuals he’s ever done outside of Suspiria and Inferno.
This isn’t as stylish as his earliest giallo pictures but it feels more fine tuned and refined. It feels like the giallo style actually adapting and moving into a new decade. Now while the style was starting to disappear into the ’80s, this kept it alive for a bit longer and I think that’s because it feels like a more mature film. It certainly shows that Argento had really found his stride and in some regard, it almost plays like an Italian version of an early ’80s Brian De Palma neo-noir picture.
It’s almost uncanny that this was able to look so clean yet be so gritty and raw at the same time.
I think that some people may see this and think of it as watered down when compared to Argento’s earlier work but I think he really just tried to make a more palatable movie for a wider audience. Granted, Argento also doesn’t betray himself, as the finale gets incredibly bloody. However, the more reserved tone actually sets the climax up perfectly, as seeing an immense amount of vibrant red blood spray across a plain, white wall is pretty fucking jarring in an awesome way.
Additionally, this film features amazing camera work. There is a long tracking shot done by crane that is breathtaking to see and it has held up tremendously well. Also, some of the shots during the murder sequences are fantastic. The moment where you see cloth tear to reveal a woman filled with terror just as blood splashes across her face is, hands down, one of the best shots Argento ever captured.
Lastly, the score by three of the four members of regular Argento collaborators, Goblin, is one of their best. The film’s main theme would even be sampled by the French band Justice for two songs on their 2007 album Cross.
While this isn’t my favorite film of Argento’s from a story or even visual standpoint, it’s still a breathtaking experience that hit all the right notes and made me appreciate the director even more.
Pairs well with: Dario Argento’s other giallo pictures.
Also known as: Profondo Rosso (original Italian title), Profoundly Red (European English title), Dripping Deep Red (US pre-release title), The Deep Red Hatchet Murders (US DVD box title), The Hatchet Murders (US censored version)
Release Date: March 7th, 1975 (Italy)
Directed by: Dario Argento
Written by: Dario Argento, Bernardino Zapponi
Music by: Goblin, Giorgio Gaslini
Cast: David Hemmings, Daria Nicolodi, Macha Meril, Eros Pagni, Giuliana Calandra
Rizzoli Film, Seda Spettacoli, 127 Minutes (original), 101 Minutes (R rated cut), 105 Minutes (export cut)
“It seems there are just some things you can’t do seriously with liberated women.” – Marcus Daly
This was the first giallo film that Dario Argento directed after what’s unofficially referred to as his “animal trilogy”, which featured the films The Bird With the Crystal Plumage (1970), The Cat O’ Nine Tails (1971) and Four Flies On Grey Velvet (1971). This also came after Argento took a break from the giallo style with 1973’s The Five Days, which was a dramedy about the Italian Revolution.
Like most of Argento’s giallos, this film was a proto-slasher movie that employed some pretty good, artsy gore. You know, the type that isn’t just gore for the sake of gore but is instead creative, full of vivid color, especially in regards to blood and other bodily fluids, and done so masterfully with practical, real effects that you kind of just stare in awe of it.
The story is about a killer that seemingly kills at random and that you are only given small clues about over the course of the film. Eventually, the crime is solved but there are great film-noir-esque twists throughout the picture and the most haunting thing about this movie isn’t the killer but it’s the picture’s atmosphere.
I’ve often mentioned about how film-noir influenced giallo and how giallo influenced slasher films. This is a movie that, honestly, makes one of the best supporting arguments for my theory. In a lot of ways, it pulls from the best bits of Argento’s previous giallos but it also reminded me a lot of Mario Bava’s Blood and Black Lace, which might be the best example of giallo bridging the bizarre gap between classic noir and slashers.
I thought that some bits of the movie were bonkers and insane, like the bit with the robot doll. But stuff like that is so surreal, cool and terrifying in its own way that it actually makes the picture work better in how it overwhelms you with weird, creepy shit.
Certain things don’t have to make sense and Deep Red is an example of how bizarre, nonsensical moments can actually throw your scent off just to hit you with something else unexpected and jarring. This was something that Argento would actually get even better at, as can be seen in films like Suspiria, Inferno and Phenomena.
Deep Red is not Argento’s best picture but it is well constructed, visually rich and it delivers the type of experience a giallo fan should greatly enjoy.
Pairs well with: other Dario Argento giallo films of the ’70s and ’80s.
Also known as: Suspíria: A Dança do Medo (Brazil)
Release Date: September 1st, 2018 (Venice Film Festival)
Directed by: Luca Guadangnino
Written by: David Kajganich
Based on: Suspiria by Dario Argento, Daria Nicolodi
Music by: Thom Yorke
Cast: Dakota Johnson, Tilda Swinton, Mia Goth, Angela Winkler, Ingrid Caven, Elena Fokina, Sylvie Testud, Renée Soutendijk, Christine LeBoutte, Fabrizia Sacchi, Małgosia Bela, Jessica Harper, Chloë Grace Moretz
K Period Media, Frenesy Film Company, Videa, Mythology Entertainment, First Sun, Memo Films, Amazon Studios, 152 Minutes
“Movement is never mute. It is a language. It’s a series of energetic shapes written in the air like words forming sentences. Like poems. Like prayers.” – Madame Blanc
There had been rumors of a Suspiria remake for years. I never thought it would actually happen, as it was in developmental hell and it isn’t a film that needs to be remade. The original was unique, haunting, effective and super stylish. In fact, it’s one of my favorite films of all-time.
So I was definitely against the idea of a remake. In fact, in my original Suspiria review, I referred to the upcoming remake as “cinematic sacrilege”. But something changed when I saw the trailer for this film.
This was a motion picture that was drastically different and certainly appeared to be its own thing only vaguely inspired by its source material. I was intrigued and once I realized that it was directed by the very talented Luca Guadangnino, who most recently did the Oscar nominated Call Me by Your Name, I was even more intrigued.
Unfortunately, this didn’t get a theatrical release near me but knowing that it was distributed by Amazon Studios, I figured I could just wait until it was available for free with my Prime membership. Once it was, I wasted no time in checking the film out.
I ended up being pleasantly surprised by this movie and even though it isn’t on the level of the original, it exceeds it in some factors.
Primarily, the acting in this picture is utterly superb and it is only enhanced by Guadangnino’s direction. He was able to capture very intimate moments, without the support of dialogue, in a way that added a mystique to the haunted proceedings.
Guadangnino also didn’t take his style cues from Argento’s original, which is actually a very, very good thing. This version of Suspiria was incredibly visual and stylized but in a new and unique way. Instead of employing the intense vivid and contrasting colors of Argento’s patented giallo visual flair, the color palate here is more subdued, full of dark earth tones and a grittiness. However, Guadangnino does sprinkle in some giallo-esque highlights. I think it is clearly an homage to Argento but it is done so subtly that someone unfamiliar with the original picture will miss it.
I thought that both Dakota Johnson and Tilda Swinton really owned their roles in this film, especially Swinton who had to play triple duty where two of her characters presented real performance challenges. Also, I was really impressed with Mia Goth and her ability to truly wear dread on her face and in her body language.
While the score by Goblin is absent, like the lack of giallo visuals, it is a good thing here. This film’s score by Thom Yorke has real character and it works quite well with the narrative and visual tones. While it is very hard to top that Goblin score, what we get with this film fits pretty flawlessly. Trying to mimic the sounds that Goblin did in 1977 would most likely have been a distraction.
This film also benefits from using the old school method for building suspense. While the picture may feel slow at parts, there really isn’t a wasted moment and everything serves the purpose of adding layers towards the story’s big climax.
As far as the climax goes, it has a pretty shocking twist that almost adds a feeling of disorientation to a sequence that almost comes across as sensory overload. It’s a lot to bear in a film that crawls by at a relaxed pace but it’s is quite incredible when you get to this point in the film.
That being said, I thought that some of the stuff in the finale was a bit over the top and a bit cheesy. I don’t want to spoil anything by pointing out the details but the whole thing hits you in the face like a hammer and by this point, you are mentally spent and the grotesque and hokier bits are buried under the weight of the whole sequence.
And despite my reservations about a few things with that finale, it is that moment that really made this film work for me. It truly showcased that Guadangnino might have started with Argento’s premise but in the end, he crafted his own creation that was much more complex but emotionally and intellectually deeper than the original. That alone allows this motion picture to justify its existence.
I look at remakes like I look at cover songs: if an artist can improve on the source material in some way or present it differently but still well, then it serves a purpose.
In the end, this is a motion picture that shocked and surprised me. While I still prefer the original, this remake is one of the absolute best horror films of the last decade.
Pairs well with: the original Suspiria and it’s first sequel Inferno.
Also known as: I Am an Eyewitness (Japanese English title)
Release Date: February 12th, 1971 (Milan premiere)
Directed by: Dario Argento
Written by: Dario Argento, Bryan Edgar Wallace, Dardano Sacchetti, Luigi Cozzi, Luigi Collo
Music by: Ennio Morricone
Cast: James Franciscus, Karl Malden, Catherine Spaak
Mondial Te.Fi., Seda Spettacoli S.p.A., Labrador Films, Terra-Filmkunst GmbH, Constantin Film Verleih GmbH, 112 Minutes
“Nothing’s easy for me. I can’t even knock over a chair without getting caught.” – Gigi, the Loser
I love giallo movies and I have been a fan of Dario Argento since I first experienced Suspiria pretty early in life. For some bizarre reason, I have never seen The Cat O’ Nine Tails. It is part of Argento’s Animal Trilogy, which are three films released consecutively but are unrelated, other than being directed by Argento, having an animal name in their titles and having similar themes from a narrative and stylistic standpoint.
To be brutally honest, while I enjoy the film, overall, this was the slowest old school Argento movie that I have seen. There were aspects of the film that were interesting but it was a boring experience overall.
This has the same visual flair that Argento gave us in The Bird with Crystal Plumage but it seemed to be shot more straightforward and lacked the cinematography and lighting flourishes he employed so well in his previous movie. Where most Argento movies, especially the ones of the ’70s and ’80s, felt so majestic, this one feels very pedestrian for a giallo. Luckily, Argento would embrace his patented stylistic flourishes and give us some vivid nightmares after this picture.
The story is about a middle-aged blind man who helps a newspaper reporter try to solve a series of murders. The murders are connected to a pharmaceutical company’s secret research. The two men then become targets of the killer and must try to outwit the murderer while trying to find out the truth behind it all.
The narrative really is a solid murder mystery that almost has film-noir elements to it. There are those patented noir twists, turns and curveballs that keep you guessing. In some regard, it is an example of a relation between some giallo films and the American and British noir pictures of the ’40s and ’50s. I’ve often called giallo a bridge between noir and slasher flicks and this is an example of how I came to that theory.
This isn’t one of Argento’s best and he even said that it was his least favorite film that he directed. That doesn’t mean that it isn’t worthwhile, especially to fans of his work that want to see how he evolved from his earliest films to his more famous movies.
Pairs well with: The other two films in Argento’s Animal Trilogy: The Bird With the Crystal Plumage and Four Flies On Grey Velvet.
Also known as: Point of Terror (US alternate title)
Release Date: February 19th, 1970 (Italy)
Directed by: Dario Argento
Written by: Dario Argento
Based on: The Screaming Mimi by Fredric Brown (uncredited)
Music by: Ennio Morricone
Cast: Tony Musante, Suzy Kendall, Enrico Maria Salerno, Eva Renzi
Seda Spettacoli, CCC Filmkunst GmbH, Titanus, 101 Minutes
“Bring out the perverts!” – Inspector Morosini
The Bird With the Crystal Plumage would be a high point for any director’s career. In the case of Italian giallo maestro Dario Argento, this was his debut picture.
Tapping into a major influence of his, Argento took the giallo style that Mario Bava was famous for and gave it a much harder edge and grittier atmosphere. Argento still employs a vibrant color palate to create this world he lets us live in for 101 minutes but everything is much more realistic and less fantastical.
Crystal Plumage really takes the giallo formula to a slasher movie level. And while it even has a certain aura of film-noir, it bridges the gap between these distant generations almost seamlessly. It is a true giallo but it taps into an older Hitchcockian thriller vibe and looks towards the future with touches of John Carpenter. It truly is a bizarre and eye opening experience, as it shows you how certain genres can kind of give birth to new and different things: noir to giallo and giallo to slashers. That evolution has never been clearer than it is in this picture.
The film is a murder mystery where the murders start to pile up. Pretty girls die, the hero witnesses a murder attempt and then puts himself in harms way in order to lure the killer out. Eventually, his girlfriend is put into danger because what is a giallo without a pretty girl running from a knife?
The main actor is Tony Musante, who I liked a lot in the Sergio Corbucci spaghetti western The Mercenary. He starred alongside the great Franco Nero in that one, as well as Jack Palance – a good pair of actors to learn from. His girlfriend is played by Suzy Kendall, who would go on to be in another pivotal giallo picture, Sergio Martino’s Torso.
This film is also a part of a loose trilogy of pictures by Argneto referred to as The Animal Trilogy. The other two films are the ones that immediately followed this one: The Cat o’ Nine Tails and Four Flies On Grey Velvet. All three films share similar themes and have a consistent visual style.
This was the precursor to a lot of great work by Argento. It was a magnificent starting point for the young director and he also got to work with the legendary composer Ennio Morricone.
The film is a visual feast and showed that Dario Argento had something exceptional in regards to his ability to shoot a scene and how to use color and darkness. A true master of mise-en-scène from the very get go, Argento’s work here is pretty profound for his lack of experience helming a motion picture.
Release Date: February 7th, 1980 (Italy)
Directed by: Dario Argento
Written by: Dario Argento, Daria Nicolodi
Based on: Suspiria de Profundis by Thomas De Quincey
Music by: Keith Emerson
Cast: Irene Miracle, Leigh McCloskey, Eleonora Giorgi, Daria Nicolodi, Alida Valli
Produzioni Intersound, 20th Century Fox, 107 Minutes
“There are mysterious parts in that book, but the only true mystery is that our very lives are governed by dead people.” – Kazanian
For those that don’t know, Dario Argento’s masterpiece Suspiria was actually the first part in what would become a trilogy of films. The second chapter in The Mother of Tears Trilogy is this picture, Inferno.
While this is not the masterpiece that Suspiria is, it is still a stellar companion piece that recaptures the beauty and dread of the first picture. It employs colorful tones and stark contrasts. It uses shadows and highlights superbly and is actually a bit more refined in this regard than its predecessor. Some of that might also have to do with Argento hiring his mentor and giallo master Mario Bava to create some of the optical effects, as well as matte paintings and some direction on trickier shots.
Additionally, Argento suffered a severe case of hepatitis while filming Inferno. He had to shoot some scenes while bedridden and then had to take some time off, as the illness got worse. Mario Bava stepped in to shoot some of the second unit material until production could commence. Also, Lamberto Bava, Mario’s son, was the film’s assistant director. So despite Argento’s health issues, the film was in capable hands and brought together three of the best Italian horror maestros.
Inferno is quintessentially a giallo in its visual style. While it isn’t a proto-slasher flick in the way earlier giallo’s were, it still employs the essence of one while there is much more going on than just a sole slasher cutting up victims in the night.
While shot mostly in Rome, the bulk of the film takes place in New York City. We find out that the evil witch from Suspiria was one of three sisters. This film deals with the sister that lives in New York. However, we also get to see evil forces at work in Rome and the appearance of a mesmerizing young woman that one can assume is the third sister. The third and final film in this series (The Mother of Tears) deals with the last sister and takes place in Rome.
If you are a fan of Suspiria, you should definitely like this film.
The narrative in this chapter isn’t focused on just one primary character like its predecessor. Inferno follows different people, in different cities, as they come to face the looming and growing danger. You kind of aren’t sure who you should be focused on until the film is rolling for quite awhile. There is the sister in New York, the girlfriend in Rome and the brother who travels across the Atlantic from Rome to New York. There are also other characters and you are never quite sure who might know more than they are leading on.
Suspiria was pretty straightforward with a lot of mystery and suspense. Inferno may initially seem a bit disjointed but its mystery has more layers and the suspense is still very effective. This picture enriches the mythos of the trilogy where Suspiria simply told its own singular story.
Inferno is a damn good movie. It is not Argento’s best but it still displays the exceptional work of an auteur with near perfect execution while still at the top of his game. Despite Argento’s health situation, he turned out an incredible motion picture that is just as enchanting and nightmarish as his magnum opus, Suspiria.
Release Date: November 13th, 2012
Directed by: Roy Frumkes
Music by: Rick Ulfik
Synapse Films, 66 Minutes (1979 cut), 85 Minutes (1989 cut), 102 Minutes (2012 cut)
Document of the Dead is a documentary that has been released at three different times, as it has been updated and expanded throughout the years.
Initially, it was about the making of Goerge A. Romero’s 1978 classic Dawn of the Dead. Since then, it has looked behind the scenes at some of his other films, as well as checked in with the man and those close to him from 1978 up through 2006.
It is a sort of disjointed documentary, as the additions are very apparent in a way that distracts from the narrative. Also, the documentary jumps around a lot. It is entertaining and informative but it is a mess too.
I am reviewing the 2012 version, the final one released, so I can’t really say if the earlier versions, especially the 1979 original version, were more coherent. Anyway, it is the 1979 material that is the most compelling anyway.
Some of the cool things in this are seeing Tom Savini put the makeup on the Dawn of the Dead zombies, as well as his stunt work. Also, just seeing the behind the scenes stuff is cool, especially on an old school movie like this where DVD extras were still twenty years away.
Document of the Dead, while not a great documentary, is still a cool look into the world of Romero from a filmmaking point-of-view. For fans of Romero’s Dead series, it is certainly worth checking out.