Friday, February 24, 2012

Tenebre (1982)

Tenebre (1982)
Tenebre (1982)

Genre: Giallo • Thriller
Director: Dario Argento
Starring: Anthony Franciosa, Christian Borromeo, Daria Nicolodi, John Saxon
Language: Italian
Duration: 101 min.
Rating: 9.0  

Summary:
An American writer in Rome is stalked by a serial killer obsessed with his latest book.



Tenebre also known as Tenebrae (from the Latin word for darkness) is a film written and directed by Dario Argento. It was originally banned as one of the infamous Video Nasties by the British Board of Film Classification.

After a successful foray into supernatural horror with Suspiria and Inferno, Argento returned with a refined giallo that left an indelible mark on the genre. Tenebre might not be quite the dazzling visual masterpiece like his three films prior, but it makes up for that with an impressively assembled ensemble of fine young ladies/victims—my favorite being Ania Pieroni (the original Mother of Tears)—supported by the trio of Anthony Franciosa, John Saxon, and Daria Nicolodi; a clever self reflexive screenplay that is also his most accomplished and accessible one to date; and an escalated level of stylized violence that surpasses anything he had done before.

Tenebre (1982)

Tenebre lacks the vivid Technicolor intensity that first made it's appearance in Deep Red, but it is still an impressive looking film in it's own way. Despite the dark shadows that the title implies, much of the story actually takes place in sunlit open spaces or in brightly lit interiors bathed in white light. It's also an ardent showcase of post-modern architecture that purposely avoids the ancient and fabled sights of Rome to present us with a strangely unrecognizable city filled with sharp edged buildings and state-of-the-art furnishings.

The story itself still suffers from the usual shortcomings of a giallo film, but Argento includes some amusing self references, such as the protagonist Peter Neal (Franciosa), being a murder mystery writer who gets criticized for his treatment of female characters in his works; and the director himself provides the black gloved killer's hands in the film's opening sequence.

Tenebre (1982)

The murder set pieces here are all beautifully orchestrated in Argento's signature gruesome and grisly manner, but with an even more liberal use of the dripping red stuff than ever before. All of which are preceded by technically masterful sequences of terrifying suspense. Including the trademark murderer's-eye-view shot as he/she stalks their victims; a slow methodical tracking shot that crawls along the exterior of a house providing voyeuristic glimpses through windows; and an extended chase sequence featuring one relentlessly scary dog who isn't the least bit discouraged by high fences.

Of course no review of an Argento film is complete without mentioning the soundtrack, and here Goblin credited as Simonetti-Pignatelli-Morante, deliver an intense pulse-pounding synth-heavy score highlighted by the fabulous main theme (embedded above), perhaps most commonly heard as sampled by French electro duo Justice on their track Phantom. Just like the film, it's not as audacious, creepy, or as spine tingling as previous efforts, but it is the most infectious and listenable.

Bonjour Tristesse

Tenebre (1982)

Tenebre (1982)

Tenebre (1982)

Tenebre (1982)

Tenebre (1982)

Tenebre (1982)

Tenebre (1982)

Tenebre (1982)

12 comments:

FrontRoomCinema said...

Cool, I know Tom would love this one!! :-)

The Angry Lurker said...

A classic but a while since I've seen it....

Andrew Buckle said...

I have been obsessing about this film all day, and had the main soundtrack theme on repeat. Such a brutal and bloody film - but one I know I could regularly return to. Great write-up. This has been the best Director of the Month to date.

Michaël Parent said...

Man! I have to watch some Argento now! I've only seen Deep Red and Suspiria. Looks like I have a lot to catch up! Nice feature on the Argento month Bonjour Tristesse!

d_4 said...

I actually knew about this movie, and have ever since I got into Justice. Just because of that main theme. I never gave it a watch though, which I probably should've right then and there. And now you're giving it a 9.0? That pretty much means I will -not- be let down. Look forward to it.

365 moviesandsongs365 said...

Dario Argento is not a director I ever remember watching anything by, judging from your rating here I should probably change that  as soon as possible.

Bonjour Tristesse said...

Yep, I am sure he would.

Bonjour Tristesse said...

Thanks Andy, I'm glad you decided to watch it. That theme is incredible, not Goblin's scariest but for sure their catchiest tune. You are right about it being the best DotM, I think it will be hard for me to be as enthusiastic about whichever director gets selected next.

Alexandra Kittle said...

I saw this fairly recently , and I have to say I didn't love it. The bad acting and uneven script had me less than engaged. BUT I totally agree with you about the awesomely  crazy murder scenes and the fantastic musical score! I'm listening to the theme right now haha.

Bonjour Tristesse said...

I understand, those are problems that exist in all of his films, but everything else is done so well that I love them. Thank you for stopping by Alexandra.

d_4 said...

So, a couple of days ago I saw this one. I was pleased, I didn't make much of it but I was definitely happy I saw it. Then I saw it again the next day with my brother and a friend. I was anticipating things, I was eager to re-watch it and that's not normal for me. I'm pretty sure the music had a lot to do with it (because DAMN does it fit perfectly or what?!) but I realized, if only just a bit, I love this movie.

The only thing that 'really' bothers me is the rock hit to the head of Peter Neal on that one scene.. But one inconsistency in a movie like this? That's fine. Just wanted to thank you for recommending it!

Bonjour Tristesse said...

Yeah, the music plays a big role and is what takes Argento's films to another level.

Thanks for reporting back! Very glad you watched it and enjoyed it. This is one of a very small number of films that I can rewatch again and again. Even if it has inconsistencies.

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