Author Archives: Glen

Recently I was down in Italy for a bit and, as mentioned in my last post, a highlight was getting to visit Profondo Rosso, the book/memorabilia store co-owned by Dario Argento and Luigi Cozzi. Obviously, I’m a fan of Argento’s work or it wouldn’t have been such a must-see, and yet, in one year of writing this blog, I’ve not yet tackled any of his films. How could this be? Perhaps he’s just loomed so large that it’s been intimidating? Perhaps, while I’d torn through his most acclaimed works when I was first really getting into horror many years ago, and he made such a deep impression, I haven’t necessarily returned to him with great regularity over the years, and it just hasn’t been at the forefront of my mind. Perhaps I just loved the sometimes maligned remake of Suspiria so much that, out of a kind of loyalty, I wrote about it before the original. I don’t know, but in any case, it’s time to remedy this fact.

It’s common to view his output in a few stages. The first consists of his “animal trilogy,” his first three gialli, all with some animal title: The Bird with the Crystal Plumage, Cat O’Nine Tails, and Four Flies on Black Velvet. Of these, I’ve only seen the first. The second stage could be deemed his “golden years,” spanning from Profondo Rosso in 1975 until Opera in 1987. And then things start going downhill. There were still occasional flashes of brilliance in the next decade (The Stendhal Syndrome has its moments and I’ve read that Sleepless is worth the watch), but they were found among considerably less inspired work, and for the last twenty years, there has been little to recommend, hitting a nadir in 2012 with the unfortunate Dracula 3D (but I am holding out hope for his new film, Dark Glasses (coming this year) – it’s never too late for a return to form). Today, in order to paint a picture of this idiosyncratic, characteristic artist, I’d like to look at four works from his golden years: Inferno (1980), Tenebrae (1982), Phenomena (1985), and Opera (1987). Though these films are very different from one another, there are clear artistic preoccupations and practices that run through them, and taken as a whole, I think they offer an interesting portrait of this influential film maker. And someday I’ll tackle Profondo Rosso and Suspiria, each of which probably merits its own post.

Also, for a change, I’m going to be good about spoilers here. Coming out of the Italian giallo tradition, these films all turn on late plot twists and they really can be spoiled.

Inferno (1980)

A follow up to Suspiria and a continuation of the “three mothers” mythology of that earlier film (there being three ancient witches ruling the world), Inferno is a wild, fevered, occasionally brilliant, generally shambolic ride. In many ways, Argento takes many of his own tendencies to their logical extremes, both to good and ill effect. He doubles down on the bold, non-realistic use of saturated color that served him so well in Suspiria, lending the proceedings a surreal air. The kill scenes are all tight as a drum: suspenseful, creative, scary, and weird. The story is secondary to an ominous mood of being observed, hunted, and manipulated by powers beyond your ken and there is a threatening sense that no one is safe as each person who might be the protagonist is dispatched until only one remains, and that is probably just because the film had to end sooner or later – if it had been longer, he probably would have died too, to be replaced by yet another potential victim. It is mysterious, unpredictable, captivating, and a little difficult to hold onto.

The story, such as it is, is spare: a woman in a striking old New York building falls down a rabbit hole of three mothers lore (and down a literal hole, into a flooded, sub-basement corpse ballroom) and writes her brother in Rome, begging him to come to her, which he does. Everyone who seems interested in understanding the power of these three witches is hunted down and killed in spectacular fashion. Finally, the brother finds Mater Tenebrarum, the Mother of Darkness, in the basement, leading to a fiery, if inconclusive, conclusion. But more so than any other Argento piece I’ve seen, Inferno is disinterested in narrative. It is a film of moments, of uncanny, intense sequences which you have to be in the right mood for; if you don’t think too much about the plot and just go with it, you will be taken to some crazy, intense, glorious places (but that lack of a narrative center can also make it a difficult watch – I must say, it’s not my favorite). In this regard, it brings to mind Fulci’s Gates of Hell trilogy, but whereas Fulci prioritizes the horror of nightmare revulsion over narrative, Argento leans into the thrill of nightmare style. But they’re both more nightmare than story.

A woman dives into a flooded ballroom to retrieve her keys and is startled by the corpses that float into view. Desperately, she escapes them (though they aren’t actually moving or doing anything, it feels like they chase her, as if they will reach out and attack). During a seminar, a music student reads about the three mothers and looks up to see a mysterious, beautiful woman holding a cat, staring him down and intensely speaking something unheard as the wind blows the windows open and the room feels full of magic and power and danger. A woman enters a library seeking forbidden knowledge and other patrons watch her slyly as if they’ve been waiting. Book in hand, she ventures into the basement where she stumbles upon a demonic book binder in a hellish workshop who tries to catch her and steal the tome (though until ten minutes earlier, he could have just gone upstairs and taken it from the shelf). Scared to be alone, a woman invites a stranger into her apartment to wait for a friend. She plays a record and tells him of the dark forces she fears. Suddenly the music and the lights start cutting out and flickering on again. The tension is ratcheted up as the stranger makes his way to the fuse box, ignoring her plea not to be left alone. Out of sight, he carries on a conversation with her until, after one moment of silence, she finds him with a knife through his neck. In his death throes, he falls upon her, pinning her down and dooming her to a similar fate. When the friend arrives, she falls right through a thin fabric wall (who built this apartment?) to reveal the horrors that have occurred. It goes on and on.

There may not be a protagonist. There may barely be a story. But every 10-15 minutes, there is a fresh, beautifully and suspensefully staged phantasmagoric crescendo. Often when people reference Argento, they talk about the colors (mainly because of Suspiria), and they are on display here, but the thing about him is that all this artfulness is in service of effect. There may be themes and imagery that run through his work (close-ups of eyes, voyeurism, identity, doubling, questioning the veracity of seeing, etc.), but it’s never art for art’s sake – it should thrill/terrify most of all – and look really cool while doing it.  Inferno delivers that.

Tenebrae (1982)

Whereas Inferno was a hyper-colorful, supernatural, gothic nightmare, with Tenebrae, Argento goes back to his roots, making a tight, twisty giallo thriller. There’s nothing supernatural; just a twisted killer hunting down pretty girls and the American crime author-cum-investigator who gets pulled into the stylish mayhem. Also, as a change of direction, it is all so white. Filmed in a modernist, brutalist, uncrowded Roman suburb, everything is sunny, out in the open, and exposed. And you just know that if a room is all white in a movie like this, sooner or later, it’s going to get painted red with an arterial spray; and when it does, it is truly a sight to behold – gruesome, gorgeous, terrifying and without warning.

The title references a pre-Easter church service in which the lights are extinguished one by one until there is a piercing sound, symbolizing the “total loss of god’s presence.” With this film’s religiously motivated killer, it is a fitting match. The film begins so bright, so stylish; and it is so much fun. The first kill sets the tone – the whole film is a flash of a blade in the dark, a slick, surprising, sometimes funny, sometimes scary romp. Throughout, there are moments of lightness and comedy (see John Saxon and his miraculous hat), and playful jump scares and plot twists. But by the end, the lights have all gone out and we are alone, screaming in the rain, having witnessed deadly art (literally – a very pointy statue plays a role).

A great example of this open and sunny, yet tense, vibe is the death of the main character’s literary agent, Bullmer, played by John Saxon. This is a unique set up – there’s no chase and the victim is taken completely by surprise, but for the viewer, there’s a fascinating, growing sense that something is wrong – something is going to happen – but what is it? Where will it come from? A series of innocuous images come together to imply danger in this open, “normal” space:

We see Bullmer standing in a modern piazza. It’s all concrete and right angles, suggesting open space and passages to other areas. He goes and sits on a bench in the center of the square.  People are going about their lives. A boy chases a bouncing ball. An old man greets a woman at a café, kissing her hand. A young man shouts at his girlfriend. Some punks stand outside a shop window, looking shifty. He takes in the life all around, enjoying it, but checking his watch; he’s waiting for his lover (who received a mysterious gift of red pumps in the previous scene). A droning, apprehensive bit of music begins, accompanying a series of short cuts: The young man yelling at his girlfriend and storming off. Bullmer looking concerned, but also like it’s not his business. The crying girl now walking in his direction. Bullmer rising and some people bumping into him. The crying lady still approaching. His face watching her – then a shadow falls over him, and he turns. He looks surprised, then happy. A blade in front of his abdomen. His face, concerned. Stab in the belly. Face in pain. Another stab. Another reaction. We see the ground and then his beloved hat falls onto it. We see him collapse in front of the bench. Crying lady approaching – she hasn’t seen anything yet. Shot of him as her legs enter the frame – he reaches out to catch her dress. Her face looking down – scream. On him, her legs, more legs run in. A crowd has formed around him. The red pumps walking, entering the crowd. Shot of him from above, dead. The red pumps back away, exit the scene.

There are much flashier kills in this movie, but this is such a masterful exercise in building tension out of nothing and it’s put together with such a confident hand that I can’t be the first to liken it to Hitchcock’s “shower scene.” There’s really no reason to be scared, but the tension builds, culminating in a brutal murder in broad day light in a populated area where no one sees a thing. No place is safe. And no time.

Add in the famous, gratuitous, because-we-can, long crane shot, the psycho-sexual-repression fueled violence, the meta-play of the film containing both a book called Tenebrae, which the killer bases his crimes on, and a character getting killed while listening to the record of the Tenebrae soundtrack, both giving the sense that Argento is looking directly at the viewer and his critics (mirroring himself with a horror writer who uses his artistry to manipulate), a rockin’ Goblin soundtrack, and some real narrative surprises and scares that deliver searing cinematic pleasure, and you’ve got a little masterpiece.

Phenomena (1985)

This next one is pretty strange, but for whatever reason, it holds a real warm spot in my heart. Jennifer Connelly, just before Labyrinth, plays Jennifer Corvino, a young girl with a psychic connection to insects, sent to a strict Swiss boarding school while her famous actor father is off filming a movie. Unfortunately, there is a vicious killer on the loose, targeting girls her age. So it’s up to her, a friendly entomologist played by Donald Pleasance at his warmest, his helper chimpanzee and Jennifer’s army of creepy crawlies to save the day. This is all accompanied by Argento’s usual visual flair, some of the spookiest music Goblin ever produced, and some oddly placed excerpts of heavy metal which often feel completely out of place.

An element I love here is the atmospheric use of nature. Set in a part of Switzerland (referred to in the film as the “Swiss Transylvania”) where the wind coming off of the mountains drives people mad, the supernatural vibe is rich. It all feels other than human, bigger, alien, and yet it is just the natural world in a very “civilized,” populated area – this is not the wilderness, but this totally normal, natural world is made to feel uncanny, weird, and threatening. The trees are always creaking, the wind never stops howling, and Jennifer’s insects are always on the move. It really creates a mood, an enveloping horror atmosphere in which I just love to dwell.

Also, I expect that the fact this was filmed right before Labyrinth (which I watched with great frequency when I was younger) lends it a strong taste of nostalgia even if I didn’t see it until my early 20s. Connelly delivers a similar, if perhaps more impassive performance, and she serves as a strong center around which the story can revolve. She is of course sometimes upset, vexed by the bug eyed murder visions that haunt her dreams, the teasing at school, the being kidnapped, drugged, and dumped in a rotting pool of human compost, but she is also often quite placid, at peace with the swarm outside the window, linked to a nature that buzzes gently without great emotional disturbance.

Finally, what makes this film so lovable is how utterly crazy it is.  It is filled with odd choices from top to bottom that just shouldn’t work (and sometimes, to be fair, they don’t), but usually do. And its execution of those weird choices sings with Argento’s usual sensory bravado, taking a plot description that could apply to an odd, charming, so-bad-it’s-good B-movie, and instead offering up a wild, glorious, so-weird-it’s-great powerhouse. I mean, at a key moment, the chimp shows up out of nowhere and attacks someone with a straight razor! How could anyone not love this oddball little movie?

But, as I said, not everything works. I think anyone who enjoys Argento, and Italian horror in general, knows that sometimes you just have to accept some things. It will always be dubbed, poorly, and the dialogue that makes it through will always seem strained and unnatural. This is no exception. Most of the characters speak in a stilted, on-the-nose fashion that can be laughable. But you can laugh, and love it, and go along for the ride, which is worth it (and in this case, having Connelly and Pleasance in such prominent roles, dubbing themselves, means that they can bring something slightly more natural to their text, so that’s nice). Also, as mentioned above, for the first time, Argento used modern music not composed for the film – it seems that he’d just gotten into Iron Maiden and Motörhead and had to include them…it doesn’t work. These are bands I like – I sympathize, but Argento just doesn’t stick the landing with matching the sound to the picture. But I’ve heard that while we may respect someone for their strengths, we love them for their faults, and that is clearly the case here. Somehow, all of the little things that don’t work, or the big things such as these music choices, just make me love the movie more – not in spite of its mis-steps, but because of them.

This, and all of Argento’s classic work, is clearly the product of an auteur – it always seems like one creator’s vision: sometimes peculiar, often intense, never dull. These are clearly not studio pictures with dictates from a group of risk-averse accountants. Argento takes big swings – and sometimes he doesn’t connect, but other times he knocks it out of the park. In Phenomena, everything is of a piece, from classic giallo kill sequences and plot twists, to the balance of beautiful, atmospheric original music and thrashing guitars, to the wind rustling the leaves and the chimp wielding a razor, to the juxtaposition of Jennifer’s peaceful communion with the insects and those insects tearing apart one who tries to harm her. It is a unique film, and one which I always find great pleasure in.

Opera (1987)

Considered by many to be Argento’s last great film (though others have said the same about Tenebrae or Suspiria or Profondo Rosso, so who knows…), this is a tight, often horrific thriller about a understudy thrust into the lead role in an avant-garde production of Verdi’s Macbeth, hounded by a killer who ties her up and tapes a row of needles under each eye to force her to watch the murders he commits. It is filmed with Argento’s characteristic verve, and it balances his visual creativity with a narrative that really holds together, even with its classic giallo character reversals and shocking twist revelations.

If anything, though there are really striking images (such as the needles under the eyes) and wild, propulsive film making (notably, all of the scenes of the opera in rehearsal or performance, or the raven eyed shots employed in the final act), this is the most conventional of all of the films we’re looking at today (possibly forecasting the direction he’d go in the next decade). Sure, there are still crazy moments, and funny character beats, and some really horrific sequences, but it feels more like it exists in our world. The stylishness is restricted to the work of the camera, the editing, and the scoring, but the people and fashions and locations (with the exception of the opera setting) all feel more “normal,” like they could fit in with any late 80s/early 90s crime thriller. Furthermore, it’s painted in much a more muted palette: murky beiges, tans, and browns.

But I don’t want to undersell its thrills either. From the opening shot of the opera house reflected in the eye of a raven, you can tell you’re in for something special. However murky this world may be, the cinematography is dazzling. The camera swoops like a bird. It creeps into places it shouldn’t be able to. It is constantly switching perspectives. Now we look through the eyes of the raven. Now through the eyes of the diva who refuses to sing with the bird and storms out of the opera house to get hit by a car. Now through the eyes of the killer. Now through the eyes of Betty, the young understudy who’s made to watch all the blood being shed. It even hides inside a door peephole, seeing the barrel of a gun, and then a bullet flying towards it, cutting away just in time for that bullet to fly out the back of a victim’s head. Argento has often circled the issue of seeing – witnessing – watching. Eyes have always been a preoccupation of his. The truth of what has been seen has regularly been called into doubt (see the late revelations in Bird with the Crystal Plumage, Profondo Rosso, and Tenebrae). In Opera, from one moment to the next, we’re not always sure what we’re watching: is it concurrent action, a memory, or a dark fantasy?

When the killer makes Betty watch, tied up, a victim of sight, Argento takes a sadistic pleasure in doing the same to us. And the violence here feels more realistic than in previous films. This may just reflect advancements in film technology that had taken place over the course of the decade, but I feel it’s an artistic choice. Just as the colors are less vibrant, so too is the violence less artificial and more grisly. The two elements are of a piece.

Then, the film ends on a peculiar note. Having been chased out to a rural landscape like something out of Phenomena (and actually, I’d misremembered this and thought it had actually been the final shot of that earlier film), Betty finally overcomes the killer and after a short interchange with the police, lies down in the tall grass and wildflowers to look at a lizard and disappear into the natural world. After the gloomy tones of the majority of the film, suddenly everything is so vivid and green. In voiceover, she speaks of how this will be her beauty now. She is done with “art,” of watching and being put on display, of human machinations and creation.  Was Argento communicating the same? I mean, he’s continued making films for another thirty years, but maybe he was just in a bad place – he’d just broken up with long time romantic and artistic partner Daria Nicolodi (who had been in almost all of his films since Profondo Rosso and sometimes shared screenwriting credit), who begrudgingly agreed to be in this one because her death scene was going to be so spectacular, and apparently the inspiration for the film had been Argento’s own artistic failure of directing Verdi’s Macbeth himself.

Argento: a style all his own

These are four strikingly distinct films, ranging from a nigh-abstract, supernatural, technicolor dreamscape, to a blindingly white, crisp psycho-thriller, to a nature infused insect-girl/razor-ape flick, to a psychological, gory horror show that problematizes watching, that questions art. And yet, each so clearly feels like it is from the same creator. The particular flourish with which he films what is often nonsensical or insane, the care taken in crafting the aesthetics of each piece, the recurring key images or themes, the maximalist glee with which he throws everything and the kitchen sink into a film to create an overwhelming sensory experience, and the freeing extent to which he just doesn’t give a damn about things that aren’t interesting to him (logic, how operas work, why things blow up or don’t, how dogs protect territory and don’t hunt girls endlessly for no reason, what Rhode Island looks like; this list could be its own post) – all this comes together to make a film feel like his and no one else’s. And isn’t the world more interesting, more delicious, more exquisite for it?