Cult Italian horror auteur Dario Argento’s 1970 debut, has all the trade marks that have distinguished his career right through to the present. The black gloved killer, beautiful female victims, superb camera work, an effective, characteristically unnerving musical score, and grand set-piece murders. Tony Musante plays an American writer travelling in Rome with his girlfriend (the gorgeously photogenic Suzy Kendall, who resembles like a young Suzanne George), when he witnesses an attempted murder on a local female gallery owner by a dark figure dressed in a black raincoat. He quickly becomes amateur sleuth after the local detective takes away his passport, and soon further murders take place and he grows ever closer to unmasking the assailant.
Although by no means as graphic as the director’s other works, this well told murder mystery harks back to the classic films of Alfred Hitchcock in both the theme and iconic imagery. Dario Argento has been often labelled the Italian Hitchcock, and with this thriller such a label is hard to deny. Yet although his work has become more abstract and bizarre over the years, and such creating a style that is distinctly his own, with this effective film, the director made a mark in cinema that introduced the world to a bold and brilliant new visionary. Engaging performances by its lead actors (especially Musante), several colourful, odd-ball characters and situations that really get your pulse racing create a distinctly classy thriller right up their with the director’s best.
This newly restored 4k transfer from the always dependable guys at Arrow Video comes in a deluxe box set that boasts a vintage poster, a detailed booklet and the movie itself on both Blu-ray and DVD complete with a plethora of extras. We get an essential audio commentary by Argento expert Troy Howarth as well as a new interview with the director, featurettes, trailers and newly commissioned artwork with a reversible sleeve. Add to this 6 art cards. The movie itself is in great shape with a clean, grainy image that only suffers from somewhat garish colours (which I’ll admit suit the era the movie was made in). The soundtrack may only be in it’s original mono audio but is still effective, especially with composer Ennio Morricone’s memorable, haunting score. An impressive treatment for a genuine classic of the Italian giallo genre.
Probably the most celebrated movie of the last twelve months that swept up at each award ceremony, gaining Oscars, Baftas and Golden Globes a plenty. I must admit I was intrigued and have always enjoyed a good musical. This stars Emma Stone as a young woman with a dream of becoming an actress who waits tables at a cafe on the Warner Brothers studio back lot. At the same time we have Ryan Gosling’s talented Jazz pianist trying to make a name for himself with dreams of opening his own, old-school Jazz bar. These two strangers it seems, are destined to meet and so we have what appears to be a classic Hollywood love story, peppered with the occasional grand song and dance routine.
A nostalgic homage to Hollywood of old, ala Rogers & Hammerstein or Doris Day musicals but with a contemporary setting. Should work wonders, huh? Well … the problem here is, these two actors lacked chemistry and their central love story, going from disliking, to tolerating, to falling in love etc. just didn’t engage … I just didn’t really get caught up in any of it. Every time you’d expect some convincing emotion or actual depth to their relationship, they’d break into a dance routine or a song instead. I’m sure it’s all meant to be symbolic but it just made their relationship ‘meh’ at best. This is not helped by some very vague story details and forgettable supporting characters (Stone has a boyfriend at one stage…not that you’d remember him). Thankfully the movie is packed with eye-catching dance routines, at times stunning visuals, great choreography and colourful costumes. However along with forgettable actual songs (nothing really stands out) and principle leads you feel are better off not being together … something has gone horribly wrong.
The movie saves itself somewhat in the closing moments and the final interactions between Gosling and Stone are quite touching. Both stars are also very good, proving themselves capable singers (with Stone especially having a fantastic solo moment) … however with such a focus on re-creating a bygone era and less focus on delivering an engaging story, I felt this ultimately failed. Worth watching for Gosling and Stone and some great dance numbers, just don’t fall for the hype.
I went through a phase of collecting the movies of revered Italian horror director Dario Argento in the early-to-mid 2000s, and had nearly every movie he’d made on DVD, whilst always trying to seek out the most complete, uncut versions of his art. With the advent of Blu-ray I sort of began collecting again, to a less obsessive extent but have been happy to see some of his movies get deluxe releases in recent times. Therefore we come to one of his more bizarre and most mistreated works.
Just prior to finding world-wide fame in children’s fantasy ‘Labyrinth’ this stars a young Jennifer Connelly as a student who comes to stay at an elite school for girls in Switzerland and quickly befriends her rebellious roommate. However at the same time there have been reports of a series of brutal murders involving female students and with the help of a paraplegic insect expert played by genre legend Donald Pleasence and Jennifer’s own ability to communicate with insects, an investigation ensues to unmask a killer.
This blends two of Argento’s favourite styles; dark-fantasy and murder mystery and is very similar in tone to his acclaimed classic ‘Suspiria’, sort of a spiritual successor you might say. However unlike that movie this lacks the excessive style and garish colour pallet (despite a few visual flourishes here and there). We also get some woefully amateurish performances, even from Pleasance who sports a dodgy accent throughout (is he attempting Scottish?) and dialogue is delivered for the most part personality-free. The plot is also a bit messy and not very well written with some faintly ridiculous moments (Jennifer declaring to a bunch of bullying schoolgirls “I love you all” and Pleasence happily sending Jennifer to track down a killer). However if you can look past such shortcomings you still get an entertaining and suitably-violent ride with several great set-pieces and excellent use of a pulse pounding score by not only Argento regulars ‘Goblin’ but also ‘Iron Maiden’ and ‘Motorhead’. Far from Argento’s best, but with a b-movie schlocky vibe to it all, there’s still fun to be had and remains streets ahead of the director’s more recent work. There’s also a chimp brandishing a straight razor – so what’s not to love?
The Blu-ray, another impressive job from Arrow Video comes with three cuts of the movie, the International Version at 110mins, the slightly longer Italian Version at 116mins and the heavily cut Creepers U.S. release at 83mins. My preference is the International Version even if it has some long drawn out moments of throwaway dialogue that could easily have been trimmed. The Italian Version is pretty similar but has inserts of Italian-only scenes complete with subtitles but is great for completionists. I haven’t watched the Creepers cut but hear it’s not good at all. The new 4k restoration of the image is very good however. Clean and mostly pretty detailed. The soundtrack (in 5.1 DTS HD Master Audio and 2.0 Stereo) is also very pleasing even if dialogue sounded a bit low (especially noticeable when the music kicks in) and surrounds are given some love with the various music inserts. Extras are plentiful with a feature length documentary consisting of new interviews with Dario Argento, actors Daria Nicolodi and Fiore Argento (no sign of Connelly sadly) and with production crew and effects artists. We also get a brilliant commentary on the Italian Version by author Troy Howarth. Rounding out the release is a detailed 60 page booklet.
Has it really been that long? Today marks this blog’s 10th anniversary since my very first post. I may not be all that popular compared to other blogs and I suppose my blog’s subjects are not that unique to grab a big audience, and well I don’t pay for advertisers to help boost my views either. Yet I have enjoyed and continue to enjoy writing this bog, sharing my opinions and what’s going on in my life. I hope whomever takes the time to read anything I post, takes something away from it, either interest for a movie they had been wanting to see, discovering a movie they may not have previously been aware of, or just enjoy my writing style and what I have to say.
A big thank you goes out to regular readers and subscribers for your continued support. I may be a small-time blogger but I’m dedicated and I appreciate every comment and view and like that I receive. Keep coming back and I’ll keep posting. Don’t forget you can also find me on Twitter and Facebook(<<< click)which you can also find on the panel to your right >>>
Back in the day I was confident that the Japanese version of The Ring (aka Ringu) was the scariest movie I had ever seen. However in subsequent years the reputation of Jap horror and it’s uprising has been diluted by a series of inferior American remakes and over-use of some of its tropes (there’s always a dead girl with long hair over her face). So my attention waned. Yet recently I’d been craving that ‘something special’ I had originally stumbled upon, and so I found myself lured back when I saw this get the special edition treatment.
Coming from the director of the Ring movies, Hideo Nakata my hopes were high and although I’m aware of the U.S. remake of the same name I’ve never bothered to see it. Here we have a fairly familiar story of a single mother and her little girl, who move into a run down apartment building during a messy custody battle between the woman and her ex-husband. Whilst there, it becomes clear there’s a strange presence, seemingly linked to a patch of water coming through the ceiling of the apartment. Set in an eerie pastel-grey coloured building, the atmosphere is one of stillness and gently growing dread. Performances on a whole are decent but it’s the story that intrigues, helped in no small way by Nakata’s masterly direction that fills the rather slow pace with discomfort and genuine creepiness. I’ve said it before but something that is sorely lost when such movies get remade, is a sense of their setting, something that works particularly well here. Something about how Japanese actors portray themselves, their formalities and customs and how they interact with one another can be ‘eerie’ at times, and it’s no different here. The mystery at the heart of this is a good one and builds to an intense climax with at least one truly terrifying moment. It may not be that far removed from what Nakata did in Ring, but how he makes something as familiar as water, constant rain or an over-flowing bath unnerving, is an accomplishment in it’s self. One of the other great Jap horrors you might have missed … that’s well worth seeking out.
As expected from Arrow Video this is another packed Blu-ray release. Image quality is a little underwhelming whilst clean but very soft, seeming to lack fine detail overall but does it’s job for what is purposely a dreary looking movie. I should add that on the whole the subtitles are good but occasionally white backgrounds can cause some of them to become less clear to read. Sound is much more impressive and helps build up atmosphere with good separation to make things like running footsteps and dripping water very effective. We also get a detailed booklet in the case as well as the Blu-ray & DVD. Extras consist of several featurettes including interviews with cast, as well as a couple more pieces, one being a new interview with Hideo Nakata, discussing his work and themes. No commentary isn’t all that surprising, and along with dual sided cover art, this is another decent release.