9 - Dario Argento goes "meta", in more ways than one (I especially loved the diegetic soundtrack), in what is, pound for pound, his strongest feature film overall. The fact that it builds upon all his previous tricks could have made this a mere incremental upgrade, but the script is such a massive improvement over his past endeavors that it almost makes you look at his entire oeuvre with brand new eyes.
Probably Argento's finest film, yet not in the eyes of many but the few. Sure, Suspiria had delirious technicolour gothic and Deep Red had the fantastical intrigue and charming chemistry between its leads, but Tenebrae has the darkest, cruelest heart.
Argento's playing a clever fucking game here. Deceptively simple, with its muted colors and straightforward plot: but it's absolutely rich with subtext. Take it as a rebuttal of misogyny, take it as the history of giallo distilled into ninety ironclad minutes, take it as a comment on artifice, take it as a fuck you to anyone who wanted Suspiria 2 (and I don't mean Deep Red, JAPAN), but don't dismiss it. Brilliant.
re-rating. Like in "Le Plaisir", by Ophüls, in a particular scene, the camera floats around a house from outside to take advantage of a dramatic moment, in this case the double murder of a couple of women. This scene is, by far, what is more accomplished in this late giallo, always triumphant in its suspenseful choreographic moments but too disjointed and fictionally clumsy to sustain its dependency on De Palma.
Solid giallo thriller from Dario Argento. It lacks the visual sophistication of his best work and the plot stretches credibility considerably (not to mention an incredibly dated score that is more annoying than fun), but it's a lively effort with a number of memorable stylish sequences. Argento's output has always been uneven, and while this one isn't among his masterpieces, it can be considered one of his successes.
Though Deep Red may pack in more moment to moment craziness, Tenenbrae is an overall leaner, meaner product. With a cool color palette, languidly gliding camera, murder set-pieces of an elegant simplicity, and a clever-bordering-on-self-aware handling of the material, this is the apex of Argento's work in the genre he helped popularize.
This gotta be one of my favorite Argeto's movies. Besides the usual density of visual pleasure, there are quite a few momets a la David Lynch. Really liked hints at feminism. Also, the long shot of the building where the lesbian couple got killed got me speechless - camera making love with architecture, just wonderful.