Wednesday, October 31, 2018

The Long Dark Marathon of the Soul 2018: Phenomena (1985), directed by Dario Argento

And another one Bites Za Dusto. You know this blog has been around for 5 years now and every year I think that this is going to be the time when I close up shop for good, and yet I keep pressing on. I don't know if it's determination or a paralyzing fear of what I would do with my time without it, but whatever the case it does give me an excuse to try out new things, and that's a crux of the human experience, right? I dunno. Anyway, I hope that you enjoyed the list this year, I hope that I gave you an excuse to try out something new as well, and I hope you join me again next year for another 31 days of scares and spoops. See ya then!


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       The last time we saw a film by Dario Argento on the Marathon (Tenebrae, back in Marathon ‘14), I started off the article by dedicating entire first paragraph to insulting the country of Italy. In retrospect this was probably not the best foot to start off on, but I suppose I did it because I feel a kinship with that Mediterranean boot. Both Italy and my country of of origin are nation stitched together by bloody conflict, after all. Both have an issues between the northern and southern halves. Both are plagued by fascists. Both love cheese. When I pointed a finger at Italy I was really pointing a finger at myself, as a first student psychology major would say. So to make it up to Italians everywhere it seems only right that 4 years after the first proper Long Dark Marathon of the Soul, 4 years after Tenebrae, that we return to the works of Mr. Agento with an older, potentially wiser eye. And yeah I could have done that with everyone on the ‘14 list but I didn’t feel like it.

       It’s once upon a time, as these stories go, and Ms. Clocktower herself Jennifer Corvino (played by Rocketeer actress Jennifer Connelly), daughter of the actor Paul Corvino, is being shipped to the Richard Wagner International School for Girls located near Zurich. This place, colloquially known as the ‘Swiss Transylvania’ for the eerie winds that come down from the Alps, has been terrorized by a mysterious serial killer who seems to only target teenage girls. Which doesn’t really bother Jennifer all that much, until during a strange sleepwalking session she happens to stumble across a murder taking place. She’s also not sure if the murderer, whoever they are, ended up seeing her that night, which isn’t the best position you want to be in when it comes to serial killers. But what can she, a young girl in a foreign land, possibly do? And where does her bizarre affinity with insects fit into it?

       Phenomena, is a giallo film, a term which in this neck of woods (ie wikipedia) refers to a particular type of thriller (with elements of horror and eroticism to taste) film that evolved out of cheap pulp magazines popular in Italy in the post-war period, much in the same way as film noir in the U.S. has its origins in the stories of Mickey Spillane and Raymond Chandler. Jumping onto the film scene as far back as 1963, giallo could be considered to be an ancestor of the slasher genre, and much like slasher movies dominated the 70s and 80s before collapsing. Much in the same way as the arc of Dario Argento’s career if we’re being brutally honest, which began in the 60s, exploded in the 70s (1970 was the year of his directorial debut, to be precise), and in modern times is commonly associated with poorly made dreck.

       By 1985 Argento was around the tail end of his Golden Age, but in Phenomena you can see the elements of what made him popular. The bizarre and grotesque imagery, clear and concise editing, the beautiful scenery, expert shots and of course all of that over-the-top violence. While not as visually impressive as his film Suspiria (from what I’ve seen of Suspiria anyway), you still see in Phenomena a film that’s a cut above many of its peers in terms of cinematography. Which may not seem all that impressive on paper, but we’ve all seen movies, especially horror movies, where much of the time is spent trying to figure out what the hell is happening on screen. Simple and clean.

       As I said Jennifer Connelly is the star, her first starring role in only her second film. She does a pretty okay job for a 15 year old, although she does seem a bit wooden at times, whether from the direction, the language barrier or her inexperience it’s hard to tell. We’ve also got Donald Pleasence to take a break from doing Halloween movies to do some stuff here. He puts on a good performance as you’d expect, although ultimately doesn’t really get to do much, which seems a bit of waste. Everyone else I can’t really speak much about, although we do have longtime Argento actress/girlfriend Daria Nicolodi as the teacher Frau Bruckner, who does so little for so long in the film that I’m almost certain you don’t actually hear her name spoken aloud until the last 25 minutes, and even then only once. When she actually gets a chance to speak she’s one of the more expressive members of the cast, and that includes the ones being stabbed by a javelin.

       The problem I arrive at, however, is the same one I faced when it came to Tenebrae: it’s too silly. Giallo, from what little I’ve been exposed to is a film style built on big emotions, but Argento here seems to have taken melodrama and pushed it into the realms of absurdity. What starts out as a relatively normal mystery-thriller with slight supernatural elements and then gets increasingly more bizarre and chaotic, to the point where the climax of the film seems feels so random that it feels like it’s from another movie. No to mention all the odd character behavior, the assistant chimpanzees, the out-of-nowhere claim that insects have ESP, it’s such an overload that a sense of drama is lost. I mean if things are just going to happen with no explanation then you can’t really invest yourself in it, you’re just kind of stuck on a haunted house ride that doesn’t quite have enough material to last the time it takes to experience. Not that I could really empathize with a 15 year old rich daughter of a movie star with psychic bug powers anyway, but you get the idea.

       The eclecticism seems to have affected the music as well. We of course have Goblin, mainstays of film soundtracks, as well as cameos by Iron Maiden and Motorhead, and despite it being good heavy stuff it also lacks nuance. That pulse-pounding, heavy prog rock is perfect during the scenes where the killer is tracking their victims, but then they also have scenes where they’ve got a blazing Iron Maiden playing over Jennifer fiddling over a doorknob. Constantly. Compare it to the soundtrack work of people like John Carpenter, subtle and yet often iconic, and Phenomena feels like the audio equivalent of a drunk bull in a china shop. Heavy, but lacks nuance.

       Generally speaking though, Phenomena does its job of keeping you more or less entertained the entire way through, so I’m going it the thumbs-up for recommendation. It’s weird and silly, but weird and silly is what 80’s horror movies were built on, and at the very least Phenomena looks good while doing it. So if you were a fan of The Believers or Sleepaway Camp that we covered previously on this list then there is probably going to be something you like here. Grab some friends, grab some snacks and the movie and have yourself a fun time.


HAPPY HALLOWEEN!

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