#140. Trauma (1993)

 

 

Were I to ever become a filmmaker (it's not gonna happen, but let's pretend for a second), Dario Argento would probably be my biggest influence. I love everything about this guy's deranged aesthetic, from the hypnotic imagery to the beautiful women to the gloved psychos to the twisted kills to the disjointed-yet-strangely-fitting scores. If this formula could be distilled into a drug, I'd inject it into my veins on a concerning basis.

 

That's not to say that all of his movies are masterpieces, though. Once we reach the mid-to-late '90s, the quality seemed to fall off a cliff. And you can already see it a bit in Trauma, which did come out before that expiration date, but which (along with Two Evil Eyes) started to show a few cracks in the foundation. The tone is all over the place, the music is pretty lackluster, and the plotting is kinda clumsy. If you aren't generally into weird giallo nightmares, then you're likely to find the movie a total mess.

 

As someone who is into weird giallo nightmares, however, I think this one's still a real winner. I love the mystery, the suspense, the rain-soaked atmosphere, the final reveal, and the fact that Piper Laurie and Brad Dourif randomly show up in small parts (doesn't it just feel right to see them in this kind of movie?). It might not quite have the same consistency, cinematography, or scoring of Argento's best works, but those stylishly irresistible fundamentals are still strong enough that my enjoyment was never in jeopardy.

 

Grade: A-

 

#29. Eyes of Laura Mars (1978)

 

 

Okay, I know I'm predisposed to fall head over heels in love with anything that even remotely resembles giallo, but I really do think Eyes of Laura Mars is much, much better than its middling-at-best reputation. Nearly every aspect worked for me, including the slightly fantastical premise (which would feel out of place in most '70s thrillers, but it fits right in with this tone and subject matter), the creative casting, the eerie-yet-stylish settings, and that awesome Barbra Streisand song.

 

Even the elements most people criticize - the campiness, the slightly out-of-nowhere ending, the generally grimy vibe - was stuff that I enjoyed (honestly, my only complaint is that I wish Raul "R.J." Julia had a bigger role, but that's true of most of the movies he appeared in). The mystery captivated me from beginning to end, as did the storytelling, as did the performances. This may be sleaze, but it's opulent sleaze, which is my favourite kind.

 

And, hey, Irvin Kershner got the job for The Empire Strikes Back because of this movie. So, if nothing else, I can at least sleep at night knowing George Lucas is on my side.

 

Grade: A+

 

P.S. Did Tommy Lee Jones ever look young?

 

#13. Torso (1973)

 

 

A.K.A. Carnal Violence

 

Prior Viewings: 1

 

This was the first true giallo film I ever saw, and I can remember not quite knowing what to make of it. In hindsight, it's clear that I lacked a frame of reference. So I was curious to see if a revisit would improve my perception now that I've come to adore this subgenre as much as I do. 

 

The answer, you won't be surprised to discover, was a pretty emphatic yes. All the mystery and horror stuff was appealing to me from the word go, but I was much more equipped to embrace the foreign flavour and general pulpiness this time around. And while I remember thinking that the movie loses a lot of steam once those four college girls take shelter at the villa, this rewatch made me realize that I was likely just being impatient; the third act might be stripped-down and more deliberately-paced, but that's what allows it to be so intimate and suspenseful. 

 

To date, Torso is still the only Sergio Martino movie I've seen, and that really needs to change at some point. Not only is this a great piece of debaucherous entertainment, it's also beautiful to look at, stylishly pieced together, far more efficient than my memory led me to believe, and actually somewhat groundbreaking in its proto-slasher sensibilities.

 

Grade: A