Review of the new Giallo Dario Argento

sunglasses at night

It would be very clever to explain the decline in the quality of Argento films after the theory, but the wonderful Stendhal syndrome in 1996. His 2000s filmography has now become an endless source of jokes known to his fading fans, and they still struggle to defend their taste errors. The third mother. While there is something wonderful about seeing her aesthetics spoiled by shifts in the industry, early reactions to her Uchiali Neri It gave hope to finally see Argento’s style on the contemporary thriller train.

Gossippers will say that the best of this new movie – the real one – comes from the fact that it’s adapted from a 20-year-old screenplay, discovered by Asia Argento Research his father’s belongings for autobiographical purposes. The story of a prostitute who was targeted by a mysterious attacker and lost her sight after one of his assaults on her. Except that with Argento, the script generally functions as straight forward at best, as an excuse at worst, when it simply doesn’t unravel, in his masterpiece Inferno. And the dark glasses is no exception. The killer’s motives, for example, are funny.

Dark glasses: photoWhite weapon and yellow blanket

If it was necessary to identify, with a wet finger, the person responsible for this timid resurrection, it might be the Wild Bunch. The distributor asked Argento to change the cinematographer, perhaps fearing that he would discover the ugliness of his earlier attempts. it’s italian Matthew Coco who inherited this position, succeeding such great figures in the profession as Luciano Tovoli (who strayed to the notorious 3D Dracula), Ronnie Taylor or Giuseppe Rotunno. And his more contrasting approach brings a lot to the film which nonetheless multiplies the environments, sending its characters to fun in both the moonlit city and countryside.

Dark glasses: photo, Elenia PastorelliSunglasses, even at night

It was enough for Argento to return to the theater of his last gallos, less baroque, but sometimes strangely artificial, during a car accident or some particularly depicted murder. With more contemporary photography, Red gets deep again and musical violence.

Daft Punk had his sights set on the film. After their separation, it finally became indescribable Arno Rebutini The one who takes the reins of the goblins, and does not do things with two halves. The composer pushes “Argentinean” horror sounds to their limits, even if it means rocking a techno kick down the throat. like what, Perhaps it was enough to review the director’s surroundings to return to his origins.

Dark glasses: photoIt lacks a little neon pink blood

Useful eyes

Because, in any case, his stagnation cannot be explained by a lack of intellectual vitality. It was enough for him to attend his keynote lecture at the Cinémathèque française in July 2022, where he dissected a very complex knot. Chills of anguish, to realize that he is still a great theorist, a lover of cinema, and more than a genius of sensation. And the dark glasses prove it in turn, By unpacking the objective concerns known to its authorOne by one, they head toward the veteran argentophile.

Urban confinement, the importance of animals, which gradually steal the show from the human actors, the use of blindness as a counterpoint to the search engine, and aesthetic murders that go beyond plausibility… The procession of distinctive decorations under the yoke of his historical mentor, Michelangelo Antonionifrom which he quotes directly eclipse From the first minutes, with … an eclipse. A phenomenon that announces the paradoxical, even bi-headed nature of the film (between town and country, tenderness and death) and poor Diana’s accident.

Dark glasses: photo, Elenia Pastorellido not search

camp Elenia PastorelliDiscovered by the director in sympathetic We call it Gig Robot, the blind companion girl is also a pure Argento character. Furthermore, Asia Argento would have won the role if Sam had not persuaded her to play prostitution and carry her father’s delusions of regression to a minor utilitarian character (according to Alan Jones). She wanders through Antonioni’s engineering maze, before freeing herself from her troubles thanks to an escape into the countryside, the company of a little Chinese kid, and the help of a good dog.

This is the main novelty of this feature film steeped in ancient customs: the heroine’s liberation, and thus her salvation, comes from her increasingly resolute sympathy. At the heart of the story, however, is the human connection, specifically supposed to mitigate risk (some even talked about a thin giallo) Too useless, too unremarkable to shake the movie. All that remains is a fun compilation of the filmmakers’ ideas, a few thrilling shots, two horrific murders… and that’s it.

We’ll gladly see that he’s a respected, albeit disappointed, Swansong if Argento isn’t already, at 80 years old, preparing his next project, a remake of a mysterious Mexican film proposed by Isabel Hubert. No matter how many his past mistakes and how humble his return, So it will never end up intriguing us.

dark glasses: poster

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