shout-out to Karl Malden for getting in an Argento film. James Franciscus does a great job as the cool reporter unafraid to get in deeper to a puzzling case. Maybe Argento's finest mystery giallo, and having Catherine Squak play the sultry woman doesn't hurt, since it made for some fun scenes. It'd be nice to see another thriller taking on an obsession with genetics in a fresh way. The insult game was also fresh.
There is giallo and then there is a Argento giallo. This is Argento in his prime. A twisted fragmented tale gorgeously shot and gloriously realized. Here we see the first echoes of Argento’s use of dream or nightmare logic, where what happens and how it happens may defy the logic and physics of reality but works perfectly well within the reality Argento created within the frame. Essential Argento.
Ce deuxième film d'Argento adoptait un style bien plus hitchcockien que vraiment horrifique et y allait mollo sur le sang, mais son esthétique - architecture, ombres nocturnes, figures féminines et visions subjectives - fonctionnait déjà bien. Dommage que la musique ait des lourdeurs et des côtés jazzy pas toujours adaptés. De plus, l'intrigue (trop lente) ne réserve aucune surprise captivante. Manque d'inspiration ?
Argento really thinks this is his worst movie? On pure entertainment terms, I found this the peak of the "Animal Trilogy" by a nose. Four Flies may be more creatively insane & Crystal Plumage more genre-definitive, but Karl Malden as a blind Sherlock Holmes aided by his child niece could yield an entire film series. And there's also the car chase scene, the milk scene and of course...the crypt scene.
While Argento broadens his hypothesis on the notion of sight & sightlessness (which played a big part in the conception of his great debut), this second film is devoid of the stylistic flair & bravura set-pieces that characterised much of the filmmaker's early works. It's by far the most conventional of the animal trilogy; hindered by a convoluted corporate conspiracy & generic style that feels closer to television.
Out of all Argento's horror films, this one feels the least like a horror and more like a detective story, well, investigative journalism story. Superb soundtrack evokes spring night romanticism with "Ninna Nanna In Blu" and paranoia with "Paranoia Prima". The acting is one of the best ever seen in the giallo movie. Car chase through the streets of Rome and rooftop scene are the highlights of somewhat tedious whole.
Giallo-Argento that’s still miles aways from the atmosphere and style of Suspiria and the other horror-Argentos, nor is it actually as stylish as his first film “L'uccello”. But it’s got a really cool soundtrack by Morricone and there are some really “punchy” action sequences, perhaps even better than in most of his films.
Early Argento is utterly sublime. He is formally far more gnarled and unkempt that Hitchcock, but the integrated components of design facilitate the formation of an immersive aesthetic domain equal parts tacky and elegant. In some ways he is like a Visconti of fun (and funny!) trash. I find it positively inspirational to see Karl Malden so game for this madness, and it features one of Morricone's very finest scores.
A lower tier Argento giallo. The plot becomes horribly convoluted 3/4th's of the way through and will leave some people scratching their heads especially with the endless amount of twists & turns. Also the abrupt ending just feels extremely shallow. The main things of interest is Argento's stylized approach that is done in a more subdued manner compared to many of his other films and Morricone's score.-2 1/2 stars.