Classic Argento, classic giallo. The death set pieces builds up and are beautifully shot and still grisly and memorably bloody. John Saxon is likable in a supporting role and the film is filled with memorable music from Goblin. One of the better "who dunnit's" where everyone is a suspect and one of the better acted films in the genre.
In “Tenebrae” Argento shows off his skills in the art of slaying sexy women and maiming men. The plot is of course silly (inclusive a rubberduck explanation of the killer’s psyche) & thematically it’s hollow despite playing around with the issue of sexism. It still has the old Argento flavour, and although it lacks the style that should compensate the weaknesses in the story, it’s entertaining in its own, bloody way.
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.
Treats women as poorly and soullessly as computer game side chicks. I am always excited for Argento's cinematography and mise en scene, from the outfits I want to emulate, to the lamps and business card holders and such. Dat crane shot doe, set to a Goblin tune? Ugh. Added to every party playlist I'll ever make.
Between the harsh angles of the architecture and the bright lights this is an unusual departure from the typical giallo. The film is fascinating from a technical and aesthetic perspective. The crane shot that moves from window to window is a standout moment in the genre. Weak spots include dubbing, illogical choices made by the characters, and too many coincidences. But this is by far one of my favourite giallos.
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.
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.
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.
Mélanger dans un même film les ingrédients du polar, du film érotique, et du film d'horreur, cela peut très facilement donner un résultat des plus abominable... Mais mettez y un scenario habile et intelligent, ainsi que toute l'ingéniosité filmique de Dario Argento, et vous obtenez une festival particulièrement jouissif. Très 80's toutefois