Enid, a woman working for a British censorship board in the early eighties discovers a movie that strongly resembles her own childhood memories of when her younger sister disappeared. So begins an investigation into the movie and it’s mysterious Director, as the boundaries between reality and the movie start to blur.
This British horror has a great initial concept, and explores a time in the U.K. when many violent or gruesome movies were getting banned as well as occasionally linked to real life crimes. This explores that period, which delivered movies that went onto become classics such as The Texas Chainsaw Massacre. However the viewpoint here is one dimensional, with that era of horror being looked at as sleazy and only worthy of disdain. It generally works in the context of the story however with the mystery surrounding Enid’s sister is an interesting one.
Shame then that any mystery or investigation is soon discarded in favour of increasingly surreal imagery and a focus of Enid potentially losing her mind. Visually this echoes the likes of Dario Argento’s Suspiria, especially in the more nightmarish sequences, and is on a whole imaginatively filmed. Niamh Algar as Enid proved compelling with one bit towards the end particularly heart-breaking. Just a shame then the movie lacked closure, at times felt rushed and kind of disappeared up its own ass. Worth a look for its visuals and its lead actress, but ultimately disappointing.
When writer Peter Neal arrives in Rome on a routine promotion trip for his latest novel, he becomes the target of a deranged killer who starts murdering beautiful women in the name of his book Tenebrae. Soon the lines between reality and fiction blur as Neal and the local detectives set out to catch the culprit and prevent more bloodshed.
Now going into a film by acclaimed, controversial Italian director Dario Argento (Deep Red, Suspiria), I will give a word of warning. He’s not one for casting great actors in his movies and is much more focused on the technical aspects and the twisting narrative. This 1982 entry is no exception as actor Anthony Franciosa and much of his supporting cast, including John Saxon and Argento’s then-wife Dario Nicolodi are amateurish at best, delivering lines in a particularly wooden and unconvincing manor. Thankfully then, Argento distracts us with a series of gloriously staged murder set-pieces, arguably some of the best in his career (the stalk and slash of the lesbians especially) and aided by a hypnotic, creepy score by Claudio Simonetti of Goblin, this remains very much an Argento movie. The look may be simplistic and the acting poor, but for style and a keep-you-guessing plot that throws in a few surprises, including an unforgettable ending … fans of early eighties slasher movies and of the Italian maestro’s work should definitely check this out.
The Blu-ray is packed with extras in this Arrow Video re-release, boasting two commentaries, several interviews and featurettes, a reversible sleeve with newly commissioned art and an in-depth booklet. Add to this a decent treatment for the film itself. The picture whilst nicely detailed, is a tad over-saturated (although the garish reds suit the tone of the story) and the sound although only in 2.0 Stereo, is uncompressed so the score sounds particularly good. Overall, a decent effort for one of Argento’s most notorious movies.
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