MirarchiJ
Dario Argento, master of slasher-surrealism, made the interesting Four Flies on Grey Velvet in 1971 … and it combines the low-key elements of his early Giallo period with the more colorful visual experimentation of his later films.Roberto, a drummer in a psychedelic rock band, is being stalked by a man in fedora and sunglasses. When Roberto eventually tracks down and confronts him in an empty confetti-strewn opera house, there is a struggle: his stalker immediately wields a switchblade, but Roberto defends himself and somehow ends up accidentally stabbing the man, causing him to fall into an orchestra pit. SEEMINGLY dead! Meanwhile, some person with a camera, wearing an impish mask, is taking pictures of all this from the opera house balcony.Obviously afraid that he'll be incriminated in the murder, Roberto avoids going to the police. It is not long before someone else begins toying with him, slipping into his home to plant a photo of the killing. This person even sneaks in while he's asleep and kills his cat. Roberto first assumes that he's being blackmailed, but it soon dawns on him that he is now the victim of some sick cat-and-mouse game designed to drive him bonkers. As he sorts through all the suspects (maid, wife's cousin, mailman, etc.) with the assistance of his earthy bohemian friend and a swishy gay private investigator, the culprit does (not surprisingly) turn out to be right under his nose.Like in all of Dario Argento's work, it's the filmmaking style that is the true star, not the actors. Argento rarely pays much attention to his performers, and this film is no exception, but there are a few treasures among the actors to be found here. Michael Brandon is apt (in that he's not very expressive) playing the vapid, macho, and boring Roberto. Mimsy Farmer, who plays his wife, Nina, does eventually come alive at the end of the film (although in an overreaching manner) when she has her big meltdown/confession scene - otherwise, she's pretty bland playing the "dedicated wife." In many ways, you can't blame Farmer since her character is so one-dimensional. A few of the supporting actors, however, stand out. Bud Spenser as Roberto's comical friend, Godfrey, and Jean-Pierre Marielle as Gianni, the overly broad, flaming private investigator, are both very engaging.While Four Flies is not as elegantly garish as Argento's subsequent Suspiria, it's still visually playful enough to give you a hint of the baroque direction Argento would soon take. Charming moments include an opening montage of Roberto jamming with his band (its highlight is a witty POV shot taken from inside a guitar, looking out into a recording studio, as its strings are being strummed) intercut with a pulsating heart over a silent black screen and Roberto being surveyed -- in his car and in the park -- by his stalker. As Roberto drums away, a fly vexes him, which he eventually squashes between his drum cymbals; the build-up to the park murder of Roberto's inquisitive and opportunistic maid stands out with its New Wave jump cuts (think Jean-Luc Godard making a thriller) where late day suddenly becomes night and a populated playground suddenly becomes empty, all within a split second; the climactic scene where the killer's car accidentally collides (in super slow motion) with a truck – we see the killer's stunned face through a crashing sheet of twinkling windshield glass, poetically juxtaposed with Ennio Morricone's haunting lilting music. Four Flies' naturalistic photography is also a charmer, focusing on earthy colors, unlike the much lauded theatrical look of Argento's best known works.Four Flies' script is moderately interesting with odd touches throughout: Roberto's recurring nightmare of a public execution/beheading washed in white sunlight, directly influenced by his friend's grisly party anecdote; a goofy mailman constantly misdelivers Swedish pornography to the wrong addressee; Roberto and Godfrey attend a coffin expo that showcases ornately designed (some - futuristic) caskets; Roberto's cute and cuddly bathtub romp with Nina's cousin, Dalia; an implausible sci-fi device that can record the last image retained on a dead person's retina, possibly revealing who the killer is if a murder is committed. Despite all this nice stuff, the script still has its weaknesses: basically, its flat lead characters and eye-rolling conclusion where Nina reveals herself to be Roberto's stalker. Nina explains her motives in an overly broad monologue that sounds as Freudian as the explanation given at the end of Psycho... and its theory of gender psychosis. She reveals that the reason she is torturing Roberto is because he reminds her of her macho dead father with whom she hates – her father always wanted a son, and would dress her up as a boy when she was little and put her through constant male endurance tests, etc. It's also interesting to add that Nina sports a boyish haircut, where her husband, the manly Roberto, has long locks.For a Dario Argento film, Four Flies' violence is pretty soft (it is PG-rated) except for a few nauseating close-ups of a jumbo needle penetrating a hairy chest's spongy layer and a thick wire being entwined around a man's coarse neck, its leathery skin in rolls. The murder that stands out the most, however, is when Dalia gets sliced on the forehead (an elegant slash like the mark of Harry Potter) right before falling down a flight of stairs (head-first, face-up) her skull plopping musically and cartoonishly against each step as she descends backwards. The coup de grace to this scene is when Argento's camera tracks the killer's perfectly vertical knife, dropping midair, disembodied, like a torpedo, silencing its victim's scream.As I stated before, the style is the most striking thing in a Dario Argento flick -- often, the skeletons of his films just aren't very impressive. Again, it's all in the way he dresses them up!
Giallo Fanatic
This is probably one of the more overlooked gems among Argento's movies. Although it has a solid script, good music, stunning tension, interesting cinematography, paranoia inducing atmosphere and a great story. First things first: Director: Dario Argento, Writers: Dario Argento, Luigi Cozzi and Mario Foglietti, Year of Release: 1971, Genre: Thriller/Horror, Subgenre: Giallo, Themes: Childhood trauma, paternal hatred, revenge, obsession and PTSD, Summary: A drummer in a jazz band is getting stalked by a man in black, in which he had enough and pursues him only to accidentally kill him. At the scene of murder a masked figure takes photos of him then proceeds to blackmail and wreak havoc in his private life. What I like most about this movie is the atmosphere then the script next. The atmosphere gives a vibe of paranoia and tension throughout the movie. It is that feeling of being constantly watched and stalked that gives the movie such an atmosphere, especially when the stalker/murderer gets in and out the house without any problem. As the plot progresses and the scheme unfolding the more the tension and paranoia mounts up.I like the script and I feel this is my favorite story Argento has come up with. Possibly because I relate to the murderer's motivation of getting revenge on her abusive father. She didn't get revenge because he died when she was in the asylum. Instead she found a man which reminded her of him. What makes it more disturbing is according to psychology we tend to choose our mates unconsciously of the opposite sex of our parents. Meaning for example if I were to choose a mate it would be someone who reminds me of my mother. The mind of Nina Tobias and her paternal hatred is portrayed correctly, people who had abusive parents tend to carry that hatred well into their adulthood and along the way might succumb to that obsession if not helped professionally. In Nina's case she succumb to that hatred and went insane and got pleasure through tormenting Roberto. The man who reminded her of his father. No wonder there wasn't any chemistry between the two main characters. Great story. Great plot. By the way, the slow-motion scenes with the bullet and the car crash are quite ahead of their time. I salute those scenes. I like the humor too, it might be a horror movie but I am the kind of person who does not mind a joke or two in a horror movie. The only reason I am not giving this movie 10/10 is because I feel the cinematography is still in the experimental state. Which Argento perfected in 'Profondo Rosso'. 9/10
Leofwine_draca
This muddled film from director Dario Argento is definitely not one of his best. We're back in the typical thriller territory here with no supernatural elements, instead we get lots of quick editing and a storyline which doesn't really know where it wants to go. Nothing much really happens during the film's length and there are far too many characters involved who don't really do anything. Even the director's trademark gore is missing here, and the death scenes are slightly disappointing.The characters in the film are dull and lacking in motivation and charisma, especially the listless long-haired youth who plays the film's lead : I was surprised, as Argento is usually adept at picking great leads like James Franciscus or David Hemmings. Mimsy Farmer does her bit as the lead's wife but due to there being so many characters, you never really get to know any of them. The only actor given a chance to shine here is the one playing the homosexual detective, who is actually very funny and likable in his role; he also suffers one of the film's cruellest deaths.Thriller fans will probably find this enjoyable enough, but it's disappointing considering the director's other great works. There are plenty of nice stylistic touches and some creative moments, but these are generally lost in the mess of the rest of the film. Watch it for the direction, which is the sole thing that keeps it going, but don't expect too much otherwise.
