“Seriously, I have to admit I don’t know what’s going on right now.”
Genres, Themes, Actors, and Directors:
Response to Peary’s Review:
… weird props, etc.” He adds that Argento “gives class to what could have been another sleazy slasher movie by having: Hemmings play classical music:
… the mystery center on a painting” (as was the case in Argento’s The Bird With the Crystal Plumage ), “his characters… educated, and his scenes set in art schools, libraries, and large rooms with tasteful decor.”
Finally, Peary notes that the film features “excellent use of props (paintings, mirrors, dolls, knives, clothes, etc.)”:
… as well as “striking nocturnal shots of deserted streets”.
While giallo films aren’t a personal favorite, I can appreciate Argento’s artistry here, and consider this a must-see simply for its cult status.
Note: For me, part of being a film fanatic is trying to understand why others deeply enjoy a certain genre of film that doesn’t necessarily appeal to me. To that end, I highly recommend The Maniac’s clear and thorough video overview of this film, contextualizing it within the history of giallo films.
Redeeming Qualities and Moments: