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Summary: A musician witnesses the murder of a famous psychic, and then teams up with a fiesty reporter to find the killer while evading attempts on their lives by the unseen killer bent on keeping a dark secret buried.
One of the great giallos and Argento's second best film. It's not as stylish as Suspiria, but the story is superior and it has some equally inspired sequences (the creepy doll, for example), as well as some fantastic, cringe inducing gore effects.
The first Argento film I saw and it's a relatively standard mystery-suspense film (with buckets of stylised blood and gore, of course), but it's still really effective and it does feel like it's been a while since I saw a mystery film that actually had a conclusion (I blame Michael Haneke!)
Forget Suspiria, THIS is Dario Argento's masterpiece. It's about a British jazz pianist in Rome who witnesses the brutal cleaver murder of a psychic woman. He ends up as a suspect and teams up with a female journalist to unravel the crime and prove his innocence. Typical of Argento, this is a slow paced two hours of lush visuals (including a few nasty killings) that doesn't make a ton of sense, leading up to the final 5 minutes which explains everything and throws in a nice shocker.
I'm a giallo fan, and this ranks right at the top. For me, it's definitely Argento's best. His use of the POV-camera, as well as the audicious way in which he dared to set up the reveal of the killer, blew me away.
It is wonderfully shot and has an interesting score, but I only wish the story was more fluid. There are times when this is very cool, but there are too many scenes IMO that were a bit dull between them. The acting could have been better too.
Highly suspenseful and involving giallo with a faint element of the uncanny. It pretty much contains all of the qualities of a classic Argento flick with very few flaws. The acting is surprisingly solid and the plot even makes sense. The visual style with flowing camera moves and feverish color is unmistakable and the score by Goblin is simply brilliant. Of all the Argentos this is probably the most accessible. Every element is used to explore the main themes of memory and repression.
Argento's thesis and manifesto. I mean, Dario is clearly a leftist, anti-fascist, pro-gay artist; however, his films feature some of the most vicious misogyny ever committed to film. Oddly enough, though it is disgusting, seeing that misogyny expressed hyperrealistically allows us to see it, understand it, and hate it clearly, which is the power of Argento: he chooses to make ugly acts beautiful, so we can both loathe and appreciate him. Whatevs. It's a fucked up movie: best intro to giallo.