After tracking down the "work print" cut to writer/directing auteur Dario Argento's underrated 1993 Giallo Trauma (also reviewed),I decided to search around online,for details about other Argento movies with different cuts. Taking a look at Amazon UK reviews,I was pleased to discover that an uncut edition of The Stendhal Syndrome had come out on DVD in the UK,which led to me getting ready to see another painting by Argento.
View on the film:
Reuniting with composer Ennio Morricone, (who gives a spidery score,designed to sound exactly the same played backwards or forwards!)Dario Argento gives the film a blistering opening,with the titles motif of cut lips,blood and razor blades giving this Giallo a strong,rather peculiar Freudian cut.
Being the first Italian film to use CGI effects,Argento and cinematographer Giuseppe Rotunno largely use the effects to show Manni's psychological breakdown,with the stylish scenes of Manni melting into paintings giving the title a supernatural quality,whilst Argento's attempts to mix the eye- catching,ultra stylised practical effects-made murder scenes with CGI reveals a film maker who is a bit too excited with his new toy.
Taking a unique approach to the screenplay,Argento and co-writer Franco Ferrini place the viewer on an insider perspective to the unfolding mystery,by making the amateur sleuth a victim of the rapist/killer,and also uncovering the unknown murderers identity within the first 10 minutes.
Whilst Argento does strike a bold note by solving the mystery early on,the Giallo elements are never able to fully recover,due to their being no mystery or tension of finding the "unknown" for the film to build upon,which leads to the Giallo elements plodding along to the finish line.
Keeping away from giving the Giallo any sense of sexual excitement,Argento shows the rape of Manni in a horrific, aggressive manner,with Argento focusing on Manni's face to show the full effect that the attack (s) have on her.
Pushing the Giallo element's to the side for the final 60 minutes,the writer's attempt to roll out a warped Film Noir,with Manni being shown as a tragic dame,who is slowly losing her mind. Disappointingly ,the writers fail to build any psychological depth to Manni during the opening hour,which leads to Manni's gradual fall into copying the person who destroyed her,lacking the emotional impact that the film desires.
Whilst she does show a real sense of fury in Manni's case to track down Grossi (played with a real viciousness by Thomas Kretschmann- who would reunite with Dario Argento for Dracula 3D 2012-also reviewed) ,Asia Argento gives a stilted performance as Manni,with Asia Argento feeling completely detached to the emotionally fragile events that Manni is experiencing,which leads to this being a Giallo which won't cause any viewers to faint.
View on the film:
Reuniting with composer Ennio Morricone, (who gives a spidery score,designed to sound exactly the same played backwards or forwards!)Dario Argento gives the film a blistering opening,with the titles motif of cut lips,blood and razor blades giving this Giallo a strong,rather peculiar Freudian cut.
Being the first Italian film to use CGI effects,Argento and cinematographer Giuseppe Rotunno largely use the effects to show Manni's psychological breakdown,with the stylish scenes of Manni melting into paintings giving the title a supernatural quality,whilst Argento's attempts to mix the eye- catching,ultra stylised practical effects-made murder scenes with CGI reveals a film maker who is a bit too excited with his new toy.
Taking a unique approach to the screenplay,Argento and co-writer Franco Ferrini place the viewer on an insider perspective to the unfolding mystery,by making the amateur sleuth a victim of the rapist/killer,and also uncovering the unknown murderers identity within the first 10 minutes.
Whilst Argento does strike a bold note by solving the mystery early on,the Giallo elements are never able to fully recover,due to their being no mystery or tension of finding the "unknown" for the film to build upon,which leads to the Giallo elements plodding along to the finish line.
Keeping away from giving the Giallo any sense of sexual excitement,Argento shows the rape of Manni in a horrific, aggressive manner,with Argento focusing on Manni's face to show the full effect that the attack (s) have on her.
Pushing the Giallo element's to the side for the final 60 minutes,the writer's attempt to roll out a warped Film Noir,with Manni being shown as a tragic dame,who is slowly losing her mind. Disappointingly ,the writers fail to build any psychological depth to Manni during the opening hour,which leads to Manni's gradual fall into copying the person who destroyed her,lacking the emotional impact that the film desires.
Whilst she does show a real sense of fury in Manni's case to track down Grossi (played with a real viciousness by Thomas Kretschmann- who would reunite with Dario Argento for Dracula 3D 2012-also reviewed) ,Asia Argento gives a stilted performance as Manni,with Asia Argento feeling completely detached to the emotionally fragile events that Manni is experiencing,which leads to this being a Giallo which won't cause any viewers to faint.