The set features an odd grouping of his films from the 80’s all the way up to 2005
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The term "giallo" was born from the yellow color of paper used to cover the notorious Italian pulp novels that first gained popularity in the 1920s. Decades later in the early sixties, the term to describe the yellow books was reborn as a film genre. Mario Bava's "The Girl Who Knew Too Much" is generally regarded as the first giallo film. Typical characteristics of this genre are excessive amounts of blood, bizarre yet catchy music, unusual camera work, and copious amounts of nudity all wrapped inside a whodunit plot, generally revolving around a black-gloved killer stalking the victims. Giallo is essentially a combination of American slasher films and Italian operas starring Playboy Playmates, with a plot ripped from a Hitchcock film.
Bava is universally recognized as the father of giallo films. After the success of "The Girl Who Knew Too Much" and his 1964 follow up, "Blood and Black Lace," many other directors began releasing their own giallo films. While many other filmmakers such as Sergio Martino, Lucio Fulci, and Umberto Lenzi crafted stand-out efforts, it was an odd-looking gentleman named Dario Argento who would eventually secure the crown as The King of Giallo. His 1975 "Deep Red," along with the films contained in Argento's "Animal Trilogy" ("The Bird with the Crystal Plumage," "The Cat of Nine Tails," and "Four Flies on Grey Velvet") that were released during the first three years of the 1970's, are prime examples of magnificently effective giallo films.
In 1977 Argento abandoned the giallo genre and created "Suspiria," a film that would become synonymous with his name and is often referred to as one of the greatest horror films ever made. Argento would continue to put out other highly regarded horror films well into the early 90´s before sputtering out on mediocre dreck including 1998's "Phantom of the Opera," and the majority of the work he's done in the new millennium.
Following in the footsteps of the marvelous Mario Bava box sets, Anchor Bay has put together "Five Films by Dario Argento." The set features an odd grouping of his films from the 80´s all the way up to 2005, but unlike the Bava sets that featured some of his greatest works, Argento's classics are noticeably missing. While the omission of "Suspira" is understandable (it's had its own 3-disc set already), I don't think there's an Argento fan out there who wouldn't have gladly traded in "The Card Player" or "Do You Like Hitchcock" for "Inferno" or "Opera." While it is a great set, both "The Card Player" and "Hitchcock" feel like last-minute additions to a collection that seems to revolve around the included "Phenomena" and "Tenebre," which were both released separately on the same date as this set. While the additionally included "Trauma" is miles beyond "Hitchcock," it's still a poor substitute for "Deep Red" or even "Sleepless."
First up in the set is 1982's "Tenebre," Argento's return to the giallo genre after helming the supernaturally driven "Suspiria" and Inferno." "Tenebre" proves that the master had not lost his touch for spine-tingling, murder-filled crime flicks and is a terrific example of the genre for anyone who has yet to experience it. Peter Neal (Anthony Franciosa) is an American mystery writer who is in Italy promoting his latest book, "Tenebre." The novel is tremendously successful; the only problem is that an unknown murderer is slashing his way through town and has claimed to be inspired by Mr. Neal's literary works! Can anything come between this mad killer and the writer who inspired a deadly depiction of art?
"Tenebre" is hands down the best film in this set and is among the top films Argento made. It features brilliantly effective use of untraditional lighting, a bevy of beautiful women, and a great plot full of suspenseful moments that surely inspired films as diverse as "Scream" and "Basic Instinct." Neither of these are films that are on the same quality level as "Tenebre," to be sure, but owe more than a thank you to the film's storyline.
"Tenebre" Film Value: 9/10
"Phenomena" was originally released in America back in 1985 under the silly title "Creepers" and is probably remembered amongst those who saw it back then for starring a young Jennifer Connelly. Or if you're like me, you can't help but recall that it's the Argento movie featuring a wheelchair-bound Donald Pleasence and his helper monkey Inga. Jennifer Corvino (Connelly), the daughter of an American movie star, has had trouble with sleepwalking for as long as she can remember. Shortly after arriving at her new boarding school in Switzerland, her night-time travels lead her out into the woods where she witnesses a murder. While attempting to escape the killer, she ends up at the doorstep of local entomologist John McGregor (Pleasence), who is using maggots to research a similar killing. Jennifer admits to the doctor that she has a love of bugs, an adoration that is in fact a psychic connection to the tiny creatures that live amongst us. But as her human friends begin dropping like the proverbial flies, will her connection to the pests that "bug" us be enough to stop the killer that has her in its sights?
"Phenomena" is the second-best film in the set and is also the only one to feature a storyline that adds a supernatural tone to the giallo style. It eschews a linear, involved narrative for the sake of atmosphere, a move that in any other director's hands but Argento´s would cause the film to dissolve into absolute rubbish. Thankfully, Argento conjures up a wonderfully dark fairy tale of a film that should be held up like a giant middle finger to lesser directors like M. Night Shyamalan ("The Lady in the Water") who claim to have done the same.
"Phenomena" Film Value: 8/10
"Trauma" is in many ways directly in the middle of this set. Not only was this 1993 film released in the center of the set's chronological time line, but it's also a film that teeters on the edge of genuine quality (the two films already discussed) and disappointingly generic drivel (the other two yet to be covered). Aura Petrescu (Dario's daughter Asia Argento) is an anorexic escapee from a psychiatric ward who turns to a kindly stranger, David Parsons (Christopher Rydell) for help. Unfortunately, Aura is taken from David and returned to her parents, who are soon beheaded by an unseen killer. Following their deaths, Aura seeks out David for help, not only to stay out of the grip of the killer who has now targeted her but to keep her out of the mental hospital where she may, or may not, belong.
"Trauma" is often heralded as the moment when Argento began his slippery slide downhill into made-for-TV movies and dismissible crime films, but as mediocre as "Trauma" certainly is, it would be a few more years before Argento began working on completely unredeemable flicks. "Trauma" features decent effects work from F/X guru Tom Savini and some great scenes with the eternally reliable Brad Dourif, but they feel weighted down by the mere presence of the always miserable Asia Argento. She clouds up every scene she's featured in, and by the end "Trauma" feels nothing like an Argento movie and more of a De Palma film; and like most De Palma efforts, it is by definition a forgettable film.
"Trauma" Film Value: 6/10
Argenta´s 2004 film "The Card Player" is a completely dismissible release from a former master whose works had essentially dissolved into lengthy episodes of "Law and Order" and "CSI." Italian detective Anna Mari (Stefania Rocca) teams up with British policeman John Brennan (Liam Cunningham) to find a killer who´s using Internet poker matches to decide the fate of his victims, live and on camera. If that stupid plot premise isn't enough to turn you off, add to it a horrible techno soundtrack and a featured role for yet another of Argento's untalented kids (Asia's half sister Fiore) and you've got yourself a wreck of a flick. There is very little indication that this film was made by one of the greatest director's of his generation, and "The Card Player" should have been the film that encouraged the once great master of horror to retire. But unfortunately it did not, and thus the worst was yet to come.
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[release]24030[/release]