A young policewoman slowly goes insane while tracking down an elusive serial rapist/killer through Italy when she herself becomes a victim of the brutal man’s obsession. –IMDb
Dario Argento was born on September 7, 1940 in Rome, Italy. He is the first born son of famed Italian producer Salvatore Argento and Brazilian fashion model Elda Luxardo. Argento recalls getting his ideas for film making from his close knit family and from Italian folk tales told by his parents and other family members, including an aunt who told him frightening bedtime stories. Argento based most of his thriller movies on childhood trauma, yet his own, according to him, was a normal one. Along with tales spun by his aunt, Argento was impressed by stories from The Grimm Brothers, Hans Christian Andersen, and Edgar Allan Poe. Argento started his career writing for various film journal magazines while still in his teens attending a Catholic high school. After graduation, instead of going to college, Argento took a job as a columnist for a roman evening newspaper, Paese Sera. Inspired by the movies, Argento later found work as a screenwriter and wrote several screenplays for a number of… read more
Put off watching this because most of Argento's post-80s stuff has been... let's just say it hasn't been up to par. The opening scene in the museum is fantastic though, and had me expecting an unsung masterpiece. Oh but how we fall. Better than Trauma, and most of what came after (Non ho sonno, 2001, being an exception) but not without its many faults. Like many recent Dario films, bloated and rough. Durable.
Can anyone confirm if this works better in Italian? The dubbing makes me fuckin' angry.
Dubbing, in general, makes you angry? It's not like the dubbed English is that different from the subtitles. And Argento still intended most of his films to be released in English. It's not the same as an Asian film dubbed into English when it has no right to be (Bio Zombie, anyone?).
Yeah dubbing makes me furious. I wouldn't want a silent film with voices the director didn't intend placed over the unspeaking mouths of actors. Why would I want to hear someone else talking over a performance they didn't give. Fellini and other 60s Italian filmmakers are often the exception because there is no alternative. But if the option to hear the voices of the actors exists, why in the world would I want anything else? Dubbing is a barrier between the audience and the film and the performer.
Look: Argento shoots his films with SOME actors speaking English. Some Italian, some German. They don't speak English just because the actors they're facing can't speak Italian. He instructs the actors to speak in their native language because his films have been dubbed over since 1969 when he made his first film. This is his tradition, it's the way he makes his movies. And, frankly- I doubt his best films would sound better in Italian anyway (and remember that Argento is my favorite director- so this is a sincere doubt). Overall, he remained very careful over his career to never have his films sink into laughable disconnect between the audience's English and his Italian. Which we know isn't true of Fulci ("Do Not Entry," "in you get," "take those pills your Baker prescribed," "Shall do!").