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First of all, My blueberry nights. Superfrecţie la picior de lemn, m-a făcut să-mi amintesc de ce nu mi-a plăcut In the mood for love şi să mă gandesc cu tristeţe la Wong Kar care nu se lipeşte de mine sub nicio formă.

Filmul e dezlînat, prea filosofico-pretenţios pentru ceea ce este în realitate.

Norah Jones actriţă? No way. Proastă alegere. Pînă şi sărutul de sfîrşit de film e ratat.

Poveşti prea diluate, personaje prea slab dezvoltate.

Hm, hai să recunosc totuşi că atmosfera sepia e draguţă şi ca imaginea de început cu plăcinta aia minunată inundată de îngheţată m-a păcălit şi m-a umplut de great expectations.

Dar nu. Pointless un astfel de film. Pierdere de timp garantată.

Second, I present to you mister Dario Argento.

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I am so very ashamed că de-abia acum mi-a picat fisa şi am reuşit să văd Suspiria, film care pînă la urmă mi-a plăcut mult. Trebuie neapărat să mă apuc de horror-uri calumea, şi trebuie neapărat ca interesul pentru asta să nu se ducă dracului.

Foarte frumos, cred că ăsta e cuvîntul. Nimic din ceea ce we now call horror. (Da’ chiar, what do we now call horror? Că nu e punctul meu forte…).

Uber artistic, colorat şi cu o coloană sonoră de-men-ţi-a-lă.

Ce-i drept e drept, plotul e slab şi prestaţia actriţei la fel, dar nu asta contează. E ceva beyond words la acest film, pînă şi picăturile de singe sunt o mostră de artă.

Filmul este despre o şcoală de dans condusă de o generaţie întreagă de vrăjitoare care au grijă să lichideze progresiv studenţi. Toate morţile au ceva de bijoux în ele, sînt artificiale dar nu într-un mod kitschos. Tensiunea e frumos păstrată. De fapt tocmai asta nu am mai văzut de mult la un horror nowadays, răbdarea aia care amplifică misterul. Hint speculat din plin aici. Luminile sînt de mare fineţe, ca tot decorul de altfel. Cadrele sînt de vis, e de ajuns să amintesc o scenă din sala de balet filmată panoramic, cu tot cu oglinzi si reflecţii si scena mea preferată, cand cele două tipe înoata în piscină. Sfîrşitul e un pic din pom, nu catastrofal însă.

Pe scurt, o plăcere vizuală. Blueberry pie for the eye. Clar o să mă uit şi la altele de Argento, mai ales că mi se pare că vorbim de filme cu mult bun gust.

Pînă îmi mai pun ceva bun la download, ca o mică trişoare ce sînt, o să atac maine Izo, un film care arată bine la o trecere aşa fugară prin el (e prea tîrziu ca să mai rezist ).

Oh, life’s so peachy, iar mă văd cu zilele stînd în faţa micului ecran.

To be continued…

www.occhisulcinema.it

It was not long after the conception of cinema that Italy grew into a powerhouse of film production. In the beginning the majority of Italy's films were historical epics with elaborate sets and costumes. As time passed and wars began and ended, cinema changed along with the world. The historical films became fewer and fewer and this allowed the neorealist movement to emerge and critique the decaying state of Italy's society. Following this was a spree of spaghetti westerns, and then in 1970 came Dario Argento's directorial debut. Argento became famous in the giallo genre and quickly established himself as one of Italy's best horror directors. Many of his films were highly innovative in both their visual style and the way they challenged genre conventions. Argento has been crowned an auteur primarily due to his distinctive use of colour, lighting, camera work and musical score. His films revel in the macabre and frequently feature extreme sexual violence. Throughout his career his focus has shifted multiple times between giallo and supernatural films, with even a few attempts made to blend the two genres. He uses recurring narrative devices and character archetypes in his films. With his cult status and stylistic prowess he is able to draw large audiences while still maintaining his artistic integrity.

Argento's first film, The Bird with the Crystal Plumage (1970), set in stone a number of the conventions that have recurred throughout the rest of his career. The script was written by Argento himself and was based off Fredric Brown's novel The Screaming Mimi. The film tells the story of a writer who is pulled into a murder mystery after witnessing an attempted murder in an art gallery. It was quite well received critically and pushed the giallo genre to the masses. The word giallo is Italian for yellow, as the genre was named after the popular Italian mystery and crime novels that sported yellow covers. The stories featured in those novels, and subsequently the films based on the novels, shared many of the same characteristics. They frequently revolved around whodunit mysteries where the story would conclude with the dramatic reveal of the killer's identity. Eroticism appears frequently in giallo as women are almost always viewed in a sexual nature. In a simple sense giallo films are thrillers that feature explicit and imaginative murder sequences, elaborate mise en scène and often eclectic soundtracks. This combination of abundant sex and violence pushed the boundaries of the film going public. Argento has personally directed many of the most graphic sequences ever put to film. Giallos often revolve around a detective character, although this detective need not be a police officer or a professional as a normal man that is thrown into the fray can work just as well. The detective in The Bird with the Crystal Plumage is an American writer living in Rome. By witnessing an attempted murder he is subsequently forced to take up the role of an amateur. As is common in Argento's films, the amateur detective is both haunted and compelled by the mystery that drives the film.

Argento's career then stepped up a notch with his 1975 film Deep Red, which was very well received by critics and audiences alike and is regarded as a quintessential giallo film. This time around the protagonist that must assume the role of a detective is Marcus Daly (played by David Hemmings). Daly is nothing more than a music teacher until he bears witness to a murder through the window of an apartment building. Much like in The Bird with the Crystal Plumage it is the act of being a witness that transforms seemingly regular characters into detectives that then involve themselves in tracking down a mysterious serial killer. Daly struggles throughout Deep Red to uncover an important clue that he knows he is missing. The failure to recollect or recognise a vital clue is a recurring theme in Argento films. Primarily this is because "Argento's parody of the crime procedures that dominate detective fiction are used to underscore the lack of faith he invests in his amateur sleuths" (Mendik, 2003). This missing clue becomes the centrepiece of the film and is used to show Daly's psychological obsession with tracking down the murderer.

Next came Suspiria (1977), which is the film that solidified Argento as one of Italy's greatest horror directors. Suspiria left behind the typical format and conventions of the giallo genre and branched out into the supernatural. The surreal nature of Suspiria allowed it to avoid an emblematic narrative and focus more on aesthetic flare. In many ways Suspiria transcends the boundaries of the horror genre and becomes an art-film of the highest calibre. As Maitland McDonagh writes:

"You can't reasonably look at Argento's work without bearing in mind the contradictory context from which he springs: on the one hand, the practical Italian film industry, with its relentless emphasis on genre and its quick and dirty production practices; on the other, the cerebral world of film criticism, with its inevitable emphasis on analysis and intellectual distance."

In this sense Suspiria is able to find a balance between these two worlds. Argento is a director capable of serving the needs of the social-economic system in which his films are made, while at the same exploring the craft and evolving as an artist. With the opening sequence of Suspiria, Argento was once again able to push audiences to their limits with a close-up shot of a blood soaked heart being repeatedly stabbed. Xavier Mendik observes that "The unnerving force of the scene is once again testament to the director's ability to manipulate every aspect of cinematic technology in his quest to expand the boundaries of horror cinema". Later would come Phenomena (1985) which was Argento's first real attempt to combine the supernatural and giallo genres. It received below average reviews and was seen as signifying the beginning of a decline for Argento's career. The supernatural aspect of Phenomena came from Argento's fascination and preoccupation with animals. Jennifer Connelly's character, Jennifer Corvino, has the supernatural ability of being able to communicate with insects, an ability which she uses to solve a series of murders. This obsession with animals has affected many of Argento's films, most obviously those in the so-called 'animal trilogy', although animals do frequently appear right through his filmography.

If there is one thing that has remained consistent throughout Argento's entire career it is his extravagant visual and aural style. The two most important and distinctive aspects of this are his use of colour and music. In Deep Red and Suspiria the use of music is critical to generating atmosphere and adrenaline. The music for both films was composed and played by Italian rock band Goblin. Their use of electronic keyboards and string instruments greatly aided Argento's films as their music was able to match his eclectic visual style perfectly. Goblin has worked with Argento on the majority of his films, making them almost always identifiable in relation to him. Another key technique in Argento's filmmaking repertoire is his use of long tracking shots. The most memorable of which appears in Tenebrae (1982), where the camera actually moves across the entire exterior of a house, simulating the perspective of the approaching murderer. Combining a long take with a probing and observational camera creates a very voyeuristic feel which is especially suited to the type of sexual horror films Argento makes, and these long takes often utilize around an anonymous point of view. The audience is looking through the eyes of a killer who has not yet been identified in the film, and often even their sex has yet to be established. This ambiguity forces the audience to assume the role of the voyeur as they have no tangible character with which to identify and associate the point of view.

Argento has always been recognised as an innovative filmmaker. This may be seen in his unconventional takes on film and genre standards, or in a new and original use of technology. In Four Flies on Grey Velvet (1972) a specialised camera was used that was capable of recording an entire reel of film in less than a second. By doing this, Argento was able to show an extreme slow motion shot of a car crash. In Suspiria Argento has the camera fly down a suspended wire towards the ground. This gives the feeling of something darting towards a person standing on the ground, threatening them from above. Another trademark of Argento is the use of old photo stock. This technique is responsible for the dazzling and rainbow-like use of colour in many of his films. The dramatically changing colours in Suspiria are produced using outdated Technicolour stock, which Argento used to give the film a striking visual intensity. Even late into his career his lust for innovation continued, as The Stendhal Syndrome (1996) was the first Italian film to feature CGI.

A common motif in Argento films is that of unconventional gender roles and twists. This frequent misuse of pre-existing and accepted conventions in his films often caught audiences out and turned critics on their heads. For instance, in The Bird with the Crystal Plumage the big reveal at the end of the film is that the murderer was in fact the wife, and not the husband as the viewer had been led to believe. In traditional horror films the serial killer has almost always been a man. Because of this institution it became ritual for there to be female victims who would be stalked and then murdered by the male killer. This was an outlet for sexual frustration and hostility in society, and in turn gave horror films a very chauvinistic feel. "On the face of it, the relation between the sexes in slasher films could hardly be clearer. The killer is with few exceptions recognizably human and distinctly male; his fury is unmistakably sexual in both roots and expression" (Clover, 1987). For Argento to turn this around was his way to reject the necessity for an archetype serial killer who fitted the gender role of a perverse male with intimacy issues. Argento's films do however present explicit sexual content in other ways. There are a number of occasions in his films where beautiful women are murdered when they are naked, or at least close to it. The violence is often sexual in nature; a woman may be dominated and then stripped before being killed. "Argento favours glass and mirrors on a fairly consistent basis, scarring and dispatching his actresses in an assault on the 'narcissism' the films so fetishistically construct” (Hunt, 2000). To counter this kind of overt patriarchy, Argento would have male characters that were feeble and easily controlled by women. This is shown strongly in Suspiria where the evil force responsible for the murders is revealed to be a coven of witches, all obviously female. These female witches controlled the school and all those within it, manipulating any men that came into contact with them. Another striking example of Argento's penchant for gender reversal comes in Deep Red. Here the final twist reveals that the killer is, once again, a woman. She is portrayed wearing black leather gloves and has heavy white makeup on her face. This costuming is done to mimic that of the typical male serial killers found in horror films, who wear white masks to hide their faces, which were often deformed.

Dario Argento is a director that has made a name for himself as not only a commercial horror film director, but also as a talented and innovative art film director. He brought giallo films to the mainstream and changed future horror films forever. His visual style is astounding, inventive and entirely his own. Colour, lighting, camera movement and music all work in unison in Argento's films to create thrilling and frightening atmospheres and action. His narratives are often unconventional and challenge accepted norms. He reverses gender roles while at the same time exploiting sex in the most violent ways imaginable. Argento has pushed boundaries while remaining an asset to the film industry. He is a one of a kind director and one of the greatest visionaries to come out of Italy.

Em março noticiamos que “Suspiria”, clássico de horror psicodélico do diretor italiano Dario Argento, pode ser refilmado nos EUA com o diretor David Gordon Green (Contra Corrente; Pineapple Express). Agora surge uma provável protagonista.

Segundo o site Bloody-Disgusting, Natalie Portman estaria confirmada no papel da bailarina e a companhia dela, Handsome Charlie Films, ficaria encarregada da produção.

O longa de 1977 acompanha - sob a lógica distorcida e surreal de um pesadelo - uma garota dos EUA (vivida por Jessica Harper no original) que chega em uma escola de dança de elite na Alemanha para estudar balé. Na verdade, a escola é só fachada para uma doentia reunião de bruxas. Destaque para a trilha da banda Goblin, que um ano depois assinaria a música de Despertar dos Mortos, de George Romero.

Muita gente considera “Suspiria” o melhor filme de Argento, além de Gordon Green já ter dito que “me procuraram para fazer uma ambiciosa e artística versão, o que pode render algo bem selvagem”. O que parecia bom está ficando melhor...

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I just read this: Natalie Portman will star in a remake of Suspiria, due in 2010.

Is nothing sacred?

First Halloween. Then Friday the 13th. Now they're in the process of remaking Nightmare on Elm Street. And then comes the announcement that Suspiria is going to be remade.

Why?! Tell me why, God, tell me why!

For heaven's sakes, there's NOTHING wrong with the original. If we have all really reached the point in movie-going culture where people are too lazy to watch the original damn movie, or complain that it's too "old" or whatever, we have some serious problems. Guys, I have an idea, let's just not make anymore new movies. Let's just remake the same damn movies over and over again. It's all easier on our brains, right, rather than coming up with something new-fangled and original?

For the record, I call shenanigans.

This is why we can't have nice things. And I swear to Jimmy Stewart, I'm going to pull this car over if one of you in the backseat even remotely thinks about messing with one more Hitchcock movie, because there CERTAINLY IS one unnecessary Birds remake in the pipeline right now.

Now, if you'll excuse me, I'm going to quietly slink into my premature old ladyhood and feel sad.

El remake de Suspiria (si, leyeron bien UN REMAKE DE SUSPIRIA) tomo fuerza hoy cuando en varios sitios se publico que la protagonista, la bailarina Suzy Bannion, será interpretada por la recientemente destapada Natalie Portman. La noticia continua en calidad de rumor, aunque algunos aseguran que es 100% seguro que ella se quede con el papel en este inminente remake.

En cuanto salgan noticias de la película las pondré aquí, y ciertamente me va a emocionar ver algunas fotos o el trailer, pero es una de las mejores películas que he visto y este remake me da un poco de mala espina…

Via info

via imagen

Yesterday we reported that David Gordon Green's John Grisham non-fiction adaptation had been put on indefinite hold. We made reference to his reported remake of horrormeister Dario Argento's "Suspiria" and today comes a rumor from Bloody Disgusting, that flaky horror site that's hit and miss with their reporting, that Natalie Portman's company is going to produce it and she is hoping to star. Considering all the other shitty casting ideas we've heard today, this one's not so bad.

The once lyrical and poetic Green is now becoming the master of all genres. He does cite the electic careers of Steven Soderbergh, Richard Linklater and Gus Van Sant as the model he'd like to follow. “I’m trying to channel as diverse a career as possible," he told the New York Times, this past weekend. " It’s good for me to switch gears. I don’t like the idea of someone looking at me funny when I say I want to do something. I like the idea of them saying, ‘That’s interesting.’ ”

Scene: "Suspiria"

This post provided by our friends at The Playlist.

Probably Argento's best known work, Suspiria was the first film from his recently concluded Three Mothers trilogy. It is a stylized masterpiece, second only to his giallo that became an archetype for the subgenre: Profondo Rosso (in English, Deep Red). Thematically, Suspiria addresses memory, fascism, and sight.

Suspiria is stylistically typified by:

• the bold use of color, especially primary colors (see above)
• elaborate setpieces for each murder
• the confusion of spatial logic
• fairy tale narrative conventions (as identified by Max Lüthi: one-dimensionality, depthlessness, and abstract style)
• its progressive rock score by Goblin

Suspiria is ripe for being remade. In typical Italian fashion, some set designs of the original were outlandish and haven't aged well. The film also has technical problems, such as the fact that much of the film was dubbed. (I've heard it argued that this increases the strange, fairy-tale-like nature of the film. I just think it's sloppy.) Also, while the first setpiece in the film is undeniably masterful in its viciousness (see below), it becomes the highlight of the film.

The final setpiece, in which the protagonist confronts the agèd Mater Suspiriorum, falls flat. (The Mother of Sighs, in very poor costume make-up, looks and sounds more like a deranged nursing home patient rather than a magically formidable witch.) The last time I saw Suspiria was on February 10, 2007 at the Oaks Theater. (I lent my DVD of it, won at the February screening by my sister, to a friend... who moved to NYC.) Honestly, the audience did as much laughing as they did screaming.

:: Bibliography ::

• Mackenzie , Michael. "Suspiria: Definitive Edition." DVD Times, 31 October 2007. http://www.dvdtimes.co.uk/content.php?contentid=66235 (6 August 2008).
• MrDisgusting. "Rumor: Natalie Portman to Topline 'Suspiria' Remake?" BloodyDisgusting.com, 5 August 2008. http://www.bloody-disgusting.com/news/13203 (6 August 2008).

:: Further Reading ::

• Lüthi, Max. The European Folktale: Form and Nature. Translations in folklore studies. Philadelphia: Institute for the Study of Human Issues, 1982. (Chapters 1-3 discuss fairy tale conventions.)

I'm sure I'm not the only one who had serious nightmares after learning about the grisly Winnipeg greyhound bus beheading. Talk about the Lynchian lost highway. The horrid news seemed to grip me by the throat, and I had a fitful night filled with twisted dreams that I forced myself to awake from several times. I dreamed of escaping a dark evil force by traveling through deep, slimy corridors--the arteries of the psyche?--only to confront the same shadow of evil on the other side. I dared not close my eyes again so I waited out the night, scribbling poetry in my diary until the sun came up.

Turning from dreams to art, I began to think about the catharsis of horror when experienced in the stories of Edgar Allan Poe or a Goya painting or in a rare good horror film like Suspiria. Maybe the reason horror films (and works of art in general) aren't more successful is because instead of taking Ginsberg's advice and trying to tap into your true thoughts of horror, or love, or whatever you're really thinking and feeling, filmmakers make the mistake of expressing 'the party line" or what they believe is frightening from watching movies instead of what they know is frightening from observing life. As I was driving past my childhood home today I had something of a revelation about filmmaking: that too many independent filmmakers are trying too hard to be commercial instead of using their indie (and broke) status to throw all caution to the wind, to be brave and to be truthful. That has always been what made indie film appealing to an audience in the first place, not its attempt to be what it's not. Imagine the disaster of attempting to make GEMINI RISING commercially viable (whatever the hell that means). If I even let a thought like that enter into my head I'd be fucked before I even got out of the gate! Thinking like that, using market research to predict if anyone is going to like your movie based on a pastiche of a pastiche of a pastiche...is the way to make shit! Anyone who has ever studied art knows that. But what about your investors? The bottom line? The profit margin? I know, I know. I don't have any of that and I'm fine with it. Would I turn down an angel investor? Of course not. If you're out there, please contact us or at least buy a t-shirt from our website. We need money to make these things, but we don't have any and we make it anyway, so there you go. I think you need to tap into your inner moonlight as Ginsberg put it (“Follow your inner moonlight; don't hide the madness”) in order to make something good, skill helps too so do your best with that. I'm learning a lot. To quote my dear friend Righteous Jolly--I'm humbled and challenged with every new episode we produce. Work with talented people (and I do! Chris Marston is a genius!), but it starts with truth, NOT the party line of what's been successful in the past, that's already a dying star. You must begin with your own passions and your own fears and anxieties, your inner moonlight.

In closing, I must share that I had my own literal brush with Allen Ginsberg on the street in New York in the late 80's. He was giving a speech at NYU where I worked at the time and as he was walking down the street our shoulders brushed against each other and as I took a second and recognized him I noticed he was laughing in a really joyful way. That was pretty cool.

1) Choose 12 Films to be featured. They could be random selections or part of a greater theme. Whatever you want.

2) Explain why you chose the films.

3) Link back to Lazy Eye Theatre so I can have hundreds of links and I can take those links and spread them all out on the bed and then roll around in them.

4) The people selected then have to turn around and select 5 more people.

Well, unluckily for you, I've downright bit my nails to the quick thinking about the movies I would select and I've taken so damn long that there's no one left to tag, it seems like!   So if you want to be tagged, consider yourself...tagged!  I will tag Allison at Nerdvampire's Film Blog because I'm curious to see what she says.

First of all, if someone actually let me run 12 movies at some place like the New Beverly (which is rapidly gaining some sort of hip, chic street cred due to the fact that they let guys like Edgar Wright & Eli Roth come in and program long ass film festivals), I'm sure A) no one would care and B) someone would probably get fired as a result of my movie choices and or other options, but here we go.

MONDAY - HORROR

NIGHTMARE ON ELM STREET III:  DREAM WARRIORS

Out of all the eight million and one half Nightmare on Elm Street movies, this is my favorite.   Sure, it's  a pure shlocky sequel slasher flick, but it's got great death scenes, a great premise and Zsa Zsa Gabor.   Come on, what's not to love?   That, and I wanted to make a popsicle stick version of Nancy's house too!

SUSPIRIA

Sure, it's totally cliché to pick Suspiria, but it really is a landmark horror film.  I often describe Suspiria to people as a supernatural slasher film if Willy Wonka decided to take some hallucinogens and try his hand at movie making.   Never has death been so artfully pretty, really.    Who doesn't want to see Suspiria on the big screen?

TUESDAY - MUSICALS

THE UMBRELLAS OF CHERBOURG

I know this may really shock some people, but I'm not too keen on musicals.  It's not that I don't like them, but they're not like horror movies for me:  they've never really grabbed me.  Unless you count The Umbrellas of Cherbourg (and the movie that will follow this one).   It's just...an awesome film, and there's some measure of greediness here because this is a movie I would probably chop off my right arm to see on the big screen once, just once, dammit!

GUYS AND DOLLS

Really and truly, I could probably take or leave Frank Sinatra.  But it's Marlon Brando that makes me have uber-love for Guys and Dolls.  That and the musical numbers are so darn catchy.   True story:  I once had the uh, Guys and Dolls soundtrack in my car and I was um...car singing...and um...I was stuck in traffic next to a dude in a Kia who thought my musical tastes/car singing was hilarious.   And I'm sure, not in a good way.   But really, it is my favorite Hollywood movie musical and I would love to see it in a theater.   (How does War Games get a one-night-only theatrical re-release and not Guys and Dolls?)

WEDNESDAY - ACTION

DIE HARD

I am going to go out on a limb here and say that Die Hard is probably the best action movie ever made and if you disagree, that's okay, we can still be friends, but let's just never bring the subject of Die Hard up ever again.   The very idea of sitting in a dark theater while watching John McClane wreak havoc upon Hans Gruber & Co. while munching on Twizzlers is heavenly.   Absolutely heavenly.   Also, does the idea of watching the "suits" conversation in the elevator on an enormous movie screen give anyone else the chills, or is that just me?

ALIENS

My favorite movie out of the Alien franchise is the one I want, dammit, and I'll accept no substitutes.   Michael Biehn?  Lance Henriksen?   Amazing awesome everything?   This movie is like one big, "Hell, yeah!" moment.   It's better than Alien and much better than Alien 3 or (god help us all) Alien Resurrection and I don't want to live in a world where that might not be true.  How sweet would it be to have the asskickery of John McClane bookended by the asskickery of Ellen Ripley?

THURSDAY - COMEDY

GHOSTBUSTERS

If I were a guy, I would be dressing up as Peter Venkman every Halloween.   Seriously.   If you don't find Ghostbusters hilarious, you may need an intervention of some sort, therapy, psychotropic medication or something.   This is one of those rare movies that got more hilarious the older I got, especially all of Egon's lines for some reason.

THE JERK

If you don't know why I'm picking this movie, RUN, do not walk, to your local video store and rent this and then sit your butt down and watch it.   This movie will make you understand why people cry at some of the crap Steve Martin has produced because The Jerk is a work of GENIUS.   Every second of it is freaking hilarious.   I want it screened just so I can hear the following quote in a huge room with nice sound:

And that's it and that's the only thing I need, is this. I don't need this or this. Just this ashtray. And this paddle game, the ashtray and the paddle game and that's all I need. And this remote control. The ashtray, the paddle game, and the remote control, and that's all I need. And these matches.

FRIDAY - SCI-FI

CUBE

I have recommended Cube approximately 1,718.437 times and the rare person who has taken my recommendation and actually watched Cube is usually like, "How the hell did I never hear of this movie?"  I love Cube.   I love everything about it, and I love the plot and the well-thought out way it was made.   I'd tell you more about why I love it, but that would spoil the movie and I don't want to do that to anyone here because you need to see it.

THE FIFTH ELEMENT

I love that this movie even ever happened, what with costuming by Jean-Paul Gaultier and Gary Oldman walking around with a crack-headed southern accent with a piece of plastic glued on his head, with Chris Tucker playing one of the most annoying characters in the history of cinema and weird ass aliens that make no sense.   It's...original, that's for sure.

SATURDAY - MOVIES I LOVED AS A KID THAT I ADORE AS AN ADULT

THE HUNT FOR RED OCTOBER

Submarines.  Russians.  Alec Baldwin.  SCOTT GLENN.

Yeah.

JURASSIC PARK

Velociraptors!  T-Rex!   Sam flipping Neill as Dr. Grant!

]]> http://sittingpugs.wordpress.com/?p=403 Sun, 13 Jul 2008 22:21:44 +0000 sittingpugs http://sittingpugs.wordpress.com/2008/07/13/off-topic-hell-terza-ghost-boy-madre-story/ But first, I've noticed the presence of yellowish-orange sedans on local streets in the past couple of weeks. I know that any self-conscious man probably wouldn't drive one of these tar-pit buggies, but la couleur est trop jolie! It's such a lovely color. They look something like this (with a spritz more yellow):

Click here for the rear shot, here, and here for larger sizes.

If you'd like to know more about this particular Pontiac, click here.

<~>

Right, now on to the films that I watched this weekend.

Hellboy II: The Golden Army (Guillermo del Toro, 200eight) was Friday night; La Terza Madre/The Mother of Tears (Dario Argento, 2007) was Saturday night; Ghost Story (John Irvin, 1981) was also Saturday night.

I saw the first Hellboy film willingly but not out of intense anticipation. I was intrigued by the creature designs and receptively along for the ride. I enjoyed it very much. With Hellboy II, on the other hand, I was ridiculously excited about and looking forward to seeing it.

Despite the fact that I nodded off a couple of times (not due to the film itself but I was tired and I was in a darkened room--it happens) and that there was a headache mounting, Hellboy II adequately entertained me. The lovey-dovey talk (thematically significant) tickled my gag reflex. Ron Perlman's performance (as Hellboy) was nearly deadpan enough for the romantic cheese to be bearable.

Film Threat's Pete Vonder Haar went coocoo for cocoa puffs about this film. While my reaction was much more subdued, I liked what he said about the imagery: Del Toro teams up with cinematographer Guillermo Navarro to create a series of fantastical set pieces, crammed with more bizarre creatures and offhand weirdness than you can possibly process in one viewing.

Read his review here.

Click here for more Hellboy 2 pictures.

I was possibly even more excited to see giallo-maker extraordinaire Dario Argento's newest film.

Argento had contributed two films to the Masters of Horror series in 2005 and 2006: Jenifer and Pelts. Prior to these two compounds of debatable quality, Argento made The Card Player (2004), which was an overall departure from his auteurist tendencies of yesteryear.

One of the professors I had as an undergrad and then a graduate student at Emory University shared with me a love of most if not all things Dario Argento. When I first started grad school in 2005, she and I had a short conversation about Argento's theatrical style. On the way home, I started thinking more about exactly why I loved his work.

The first time I ever saw his name or any images of his work was in a book in the library when I was
work-studying in the Government Documents department. I was a sophomore and was walking from one part of the work space to another when I passed the shelves where foreign language books-to-be-processed or catalogued were kept. The book was about poster art of Italian films or something to that effect, and it
caught my eye. I started flipping through it and saw pictures from Suspiria. Inexplicably, those imaged looked very familiar. During the rest of my sophomore year and junior year, I watched every Argento film i could get my hands on--from Emory's music & media library--or that I could buy from Borders, Tower Records, and from Amazon.com.

Since I'm not ludicrously keen on the human species, I have no problems watching people die horrible deaths on film. But, it has to be a certain type of death and depicted in a certain way. The reason I don't watch all the war films I can get my hands on is because the death that goes on in war films doesn't lend itself to a cathartic viewing experience--at least not for me. Slasher films, giallo, certain kinds of horror films, on the
other hand, are more likely to depict stylized death scenes. I appreciate the aesthetic quality of such images, especially the giallo style. The Argento style.

I still haven't been able to watch the ending of Suspiria without partly covering my eyes, though, because it's actually kinda scary.

Along with Suspiria and Inferno, The Mother of Tears compose the Three Mothers trilogy three witches. The Mother of Sighs (Suspiria) and the Mother of Darkness (Inferno) inflicted much chaos and destruction upon poor, unfortunate mortals. Dario Argento's daughter Asia, who starred in a number of her father's films, is focus of La Terza Madre, which introduces the Mother of Tears to the world. The most aesthetically pleasing of the lot (can we say zero lawn and foliage), she's also the most cruel and is intent on ushering in a new wave of witches. The only person strong enough or even eligible to prevent it is Sarah Mandy (Asia Argento)--she has inherited certain powers from her mother and must learn how to use them before it's too late.

Like any decent apocalyptic-mix-in-occult horror film, an artifact--in this case a casket and a box of ancient, magical goodies--is unearthed and triggers the beginning of the alleged end. Oh yes, and Udo Kier make an appearance in the film. There is plenty of corn and cheese in The Mother of Tears,* some of which is fantastically campy. With respect to the Argento look and sound of things, I'm glad the theatrical colors and lighting and foreboding music are back. I was reminded of The Stendhal Syndrome in some moments (though not as grainy). On the violence and gore end, I was satisfied and sufficiently stimulated cognitively and hypothalamusly. "That had to hurt! Oh man! Dayam! Ah!"

Take a bite here.

Is the body trauma superfluous? Gratuitous? Excessive? Maybe so, maybe not. Through the giallo lens, not at all. I liked the eye violation portions in particular.**

I'm definitely going to purchase this film when it's released on DVD.

Click here for the Mother of Tears trailer.

Read more about Dario Argento at Senses of Cinema.

*What the heck is up with the ending?! Major spoilage ahead, highlight relevant terms at your own discretion:

Sarah didn't have to use any magic to defeat Mater Lachrymarum. All she had to do was burn that red tunic. Quoi? Nandesuka? How silly! I might have been laughing as well but I certainly didn't want the characters to be engaged in riotous giggles when they crawled out of the earth. Aish.

**There are two examples of eye violation (again, highlight relevant words at your own discretion):

In the first incident, a Japanese witch that has been following Sarah Mandy in a train station gets her head whonked in the door way of a train toilet. The bashing continues until one of her eyes pops out. In the second incident, one of Mater Lachrymarum's henchmen uses a small pitchfork-esque tool to impale the eyes of an unsuspecting woman. Two very Lucio Fulci moments indeed.

<~>

Now as for Ghost Story, I'm not going to analyze it very much.

The version that I purchased can be seen here. The reason I bought it was because it stars Fred Astaire, Melvyn Douglas, and Douglas Fairbanks, Jr. Fred Astaire in a horror film? Where do I sign up? He was so adorable in it too. No tap-dancing; more enjoyable than The Towering Inferno. And, quite frightening. It's not nearly as "gross" as non-ghostly horror films, and thus supposedly less exciting (on the body temperature and heart-beat levels), but I yelped many more times during Ghost Story than I did at The Mother of Tears.

The DVD's back cover summarizes the film as: Put together a gloomy New England house, a dark night and four of America's legendary leading men and you have all the ingredients for the classic Ghost Story, a spellbinding motion picture based on the bestseller by Peter Straub. Co-starring Patricia Neal, Ghost Story is about the Members of the Chowder Society: Fred Astaire, Melvyn Douglas, Douglas Fairbanks, Jr. and John Houseman, who get together each week to share tales of horror. Soon, however, a secret terror invades the group, and one by one, they die mysteriously because of a real life ghost story that is part of their past.

FYI: There's also a set of twin sons and the "one by one, they die mysteriously" is a bit misleading.

Alice Krige also plays a significant character in the film and she has always given me the creeps.

Click here for clip.

Ghost Story brings to mind The Changeling.

M-am hotarat sa-l vad dupa ce am rasfoit o revista a liceului de acum cativa ani (nota: e vorba de CNMB) si dupa prima jumatate deja ma pregateam sa-l opresc. Biensur, cred ca e reactia standard la filmul asta. Interesant ca Elephant e inca un film care m-a pacalit, dupa Pan’s Labyrinth (Pana in ultimul moment am crezut ca faunul e the mastermind si implicit the bad guy si ca de fapt toate probele fac parte din strategia lui de pacaleala… ce e si mai trist e ca sint 100% convinsa ca fix asta a vrut si regizorul. Ce sa zic, i-a iesit…).

 Ce m-a enervat cel mai rau la filmul asta? Ca nu am stiut cum sa-l abordez si ca m-am asteptat clar la altceva. Cred ca de-acum incolo o sa citesc cate o recenzie serioasa inainte de fiecare film pe care vreau sa-l vad.

Revenind la Elephant, filmul e sec rau de tot dar foarte bine gandit.

Mi-a placut la nebunie schimbarea de perspectiva, secventa aia cand se intersecteaza 3 dintre personaje (e vorba de fotograf, blond si tipa cu ochelari) pe holul liceului reluata de 3 ori din unghiuri diferite (faza e cu foarte mult schepsis) si mai ales secventa in care e filmat jocul unuia din copiii-criminali care in opinia multora face ca tot filmul sa fie previzibil. Secventa aia e nodul de legatura cel mai important, fara ea filmul ar fi complet ratat, pentru ca incarcatura de la sfarsit nu ar fi sustinuta de nimic si ar face (abia in cazul asta, in rest nu poate fi vorba de asa ceva) nota discordanta.

Personajele nu sint stereotipuri dar nici nu sint dezvoltate, si e si normal devreme ce un film ca asta e cam tricky. In sensul ca nu stiu cat de mult conteaza filmul in sine ca exercitiu cinematografic cat conteaza impactul moral pe care vrea sa-l genereze.

E absolut verosimil faptul ca doi pusti nebuni pot sa lichideze un liceu intreg, pentru ca moartea poate sa vina oricand, de oriunde.

De fapt, mie mi-a adus aminte de o problema care ma chinuie de ceva vreme, si anume daca intr-o societate in care pedeapsa capitala nu exista merita sa-ti petreci resul vietii in inchisoare dupa ce omori, sa spunem, o mana de oameni foarte importanti (eventual cu varianta “Merita sa-ti petreci restul vietii in inchisoare stiind ca ai scapat posteritatea de niste imbecili?”).

Una peste alta, eu nu ma grabesc sa fac asta, multumesc filmului pentru ca mi-a reactualizat dilema asta atat de filosofica si ma pun la un nou film.

Data viitoare o sa fie Suspiria, pentru ca de mult ma tot tin sa vad un horror chipurile bun. In realitate, secretul meu e ca mereu imi iau teapa cu filme de genu’ asta. Ori sint efectiv foarte proaste, ori pur si simplu nu rezist la ele…

"The Allure" is a blog which will review new / old films (mostly Euro-horror ), dark fiction books, and discuss the craft of writing dark fiction and the horror lifestyle.  Yes, horror is a lifstyle - that does not mean goth either - horror fans know what I mean. 

If you are easily offended by graphic and "offensive" art, you will not agree with my choice of cinema or literature.  If you are into edgy material, you will hopefully find my reviews to be helpful in discovering new frontiers - and allow me to discover as well.

MOTHER OF TEARS

Mother of Tears is Dario Argento's third movie of the Suspiria trilogy.  MOT will make its American national theatrical debut on Friday June 6th (6/6 at 6:00 - at some theaters - awesome!). For Euro-horror fans, MOT is something we have been looking forward to for quite some time.  The fact that we can watch an Argento movie in a theater is mind blowing considering I have never had the privilage of doing so.  MOT will be Argento's goriest feature film to date according to Rue Morgue magazine. From the looks of the stills, it also appears to be his most evil movie to date as well.  I am seeing the film on Sunday the 8th at the Ritz in Philly.  I'll post a review soon after.

ARGENTO RERELEASES

The release of the movie also spurred the rereleases of Tenebrae and Phenomena by Anchor Bay.  Phenomena could have been easily found at horror conventions; however, I had yet to find Tenebrae at a con (only for 50$ on Amazon).  My wishes were answered with this Tenebrae rerelease. I have seen both priced around $16.  Phenomena is tied with Suspira as being my favorite Argento film.  The atmosphere (thanks Goblin!) and cast (Jenny Connelly and the great Donald Plesence) are remarkable.

Next post will address the recent French film: INSIDE.

Já deste aqui eu esperava mais. Ser um filme maravilhosamente lindo (visualmente) é a princípio o que o salva. Ou talvez o que o mantenha abaixo do “sensacional!” que eu sinceramente gostaria de disparar a seu respeito… Porque a mistura do ‘trash’ com a extrema sofisticação visual torna Suspiria um tanto esquizofrênico, um filme de identidade flutuante (sem que haja, aparentemente, uma razão pra isso. Tanto ‘racional’ quando de ‘efeito’ cinematográfico).

Os primeiros 15 minutos pressupõem uma obra-prima absoluta, mas é exatamente onde a afinação inacreditável entre Argento e Goblin começa a perder o efeito do encanto ainda ativo desde Profondo Rosso. Não que seja ruim, a léguas disso. É sensacional, Goblin + Argento = orgasmo de cinema. Mas não há a mesmo intensidade, a mesma agressividade, não há navalhas nos acordes dos caras, dessa vez. Basicamente, Argento e Goblin sofrem da comparação com eles mesmos, e estranhamente, fazem de Suspiria uma pirâmide invertida, com seu pico de tensão no início e um final que parece não render o que deveria.

Mas é um ótimo filme. Uma das coisas mais interessantes é que a identidade do assassino, aqui, é irrelevante, tomando mais proporção a própria atmosfera da mansão, naquela utilização sobrenatural da câmera subjetiva e que nunca sabemos se, afinal, é subjetiva mesmo ou não. O caminhar progressivo sobre os corredores lembram os percursos quase alados da steady cam de Stanley Kubrick em O Iluminado, e é especialmente incrível uma tomada superior das duas meninas conversando numa piscina.

Além de tudo há um uso opressivo de cores que inundam completamente a tela. O verde, o azul e o vermelho praticamente compõem uma pintura viva de 90 minutos. É lindo, como eu disse. Ainda assim, a sensação de que me foi entregue menos do que me disseram os 15 primeiros minutos (e a própria expectativa inevitável) continua forte.

2/4

Luis Henrique Boaventura

Um grande exemplo de vitória da forma sobre o conteúdo, num surto absurdo de variação de cores que, em certos momentos, chegam a adquirir caráter quase lisérgico em sua participação imprescindível na composição atmosférica. A grande sacada de Suspíria é abusar da soturnidade que o conceito de universo-fechado garante à mansão onde são desenvolvidos os principais fatos, transformando a escola em uma caixinha de música macabra e embalada pela trilha-sonora genial dos ‘Goblins’, praticamente a mãe desse potencial todo, junto da direção de arte quase plástica de tão exagerada – o que, no caso, fica como um grande elogio – que dá vida à imaginação interminável do Argento ao construir soluções visuais surpreendentes a todo o momento.

Os 15 minutos iniciais, aliás, podem ser considerados facilmente como um dos melhores, senão o grande momento artístico do diretor, em especial naquela seqüência de morte obraprimística que encerra o prólogo e deixa o espectador aceso e sedento por mais. Uma pena, portanto, que esse ‘mais’ demore tanto a chegar, e no final a principal característica do Argento, que são as mortes bem elaboradas e sangrentas, são deixadas de lado em detrimento à construção de uma estória boba de bruxaria– e eu tenho um problema muito sério com bruxas; não consigo me impressionar/envolver nem um pouco com o tema - embora ele gere, em Suspíria, pelo menos uma sacada absolutamente sensacional, que é a amiga morta da protagonista ser ressuscitada pra matá-la.

Mesmo assim, um ótimo filme, em especial pelo visual e pela mistura bem interessante de diferentes formas de se conseguir um momento de tensão, vagando referencialmente entre elementos de Os Inocentes, como a utilização do espaço e do vazio para transmitir insegurança e pavor – o ápice disso é o cego isolado naquela imensidão negra antes de ser assassinado pelo cachorro -, até Os Pássaros, nessa mesma seqüência, com a subjetiva acompanhando o campo de visão de um pássaro, entre muitas outras – vai de Hitchcock a De Palma, como faz habitualmente, em questão de segundos, além de abusar de diversos clichês do gênero. Mas não dá pra sair plenamente satisfeito, já que Suspiria tinha potencial de sobra pra ser a grande obra-prima do Argento, e a oportunidade é desperdiçada por bobagem. Uma pena.

3/4

Daniel Dalpizzolo

Due anni dopo il travolgente successo di Profondo rosso,Dario Argento torna dietro la macchina da presa,e questa volta opera una svolta copernicana nella sua produzione. Al thriller canonico,come L'uccello dalle piume di cristallo,Il gatto a nove code e 4 mosche di velluto grigio,si sostituisce il theriller parapsicologico/horror,con protagoniste le tre madri infenali,Mater tenebrarum,Mater sospiriorum e Mater lacrimorum,trilogia inizata con Suspiria,proseguita con Inferno e chiusa,ai giorni nostri,con La terza madre. Suspiria racconta la storia di Susy Bannon, una ragazza americana arrivata in Germania per studiare danza, che si troverà da subito in una situazione terrificante,tra omicidi,messe nere e situazioni al limite del paranormale.

L'incursione di Argento nel gotico-noir,con spiccata predilezione per i colori accesi e le situazioni splatter,stravolge completamente i canoni che il regista aveva seguito;al thriller schematico,con il classico binomio assassino/motivazione,con la consueta scoperta dell'insospettabile mano omicida,si sostituisce un genere che Argento non aveva mai nemmeno sfiorato.

I risultati,almeno nel caso di Suspiria,appaiono di buon livello,anche se il regista mostra la tendenza a voler stupire ad ogni costo,abbandonando la liquidità della trama che diventa più complessa e di minor presa iniziale;tendenza che sarà esasperata in Inferno,in cui avremo il trionfo dei colori accesi,mentre Suspiria è il trionfo del nero,dell'oscurità.

In Suspiria Susy è la classica brava ragazza che riesce a sconfiggere la prima delle tre madri,il bene che trionfa sul male;esce indenne da attentati in serie,sempre casualmente,come se fosse protetta da qualcosa di arcano.

Il film mostra la capacità di Dario Argento di impressionare con scene ad effetto,come la caduta del lucernario,o la pioggia di vermi,o la scena finale,quando riesce a uccidere helena,la fondatrice dell'istituto.

Il film resta oscuro per buona parte,perchè la trama risente della necessità di un seguito esplicativo,cosa che avremo con Inferno,in cui molte delle parti oscure di Suspiria,verranno chiarite.

Buona la recitazione dei vari protagonisti,sopratutto quella della luciferina Alida Valli,perfida e insopportabile nel ruolo di una delle direttrici.

La colonna sonora,affidata a quel geniaccio di Simonetti e dei suoi Goblin è ottima,anche se non all'altezza del capolavoro creato con profondo rosso;un binomio,quello di Argento-Goblin interrotto con Inferno,dove un grande Keith Emerson creerà una delle musiche più belle ascoltate nei film orror,Mater tenebrarum,ripresa poi dallo stesso Simonetti.

Giudizio:

Un film di Dario Argento. Con Flavio Bucci, Alida Valli, Stefania Casini, Jessica Harper, Miguel Bosè, Barbara Magnolfi, Rudolf Schundler, Fulvio Mingozzi, Renato Scarpa, Udo Kier, Susanna Javicoli, Renata Zamengo, Eva Axen, Joan Bennett. Genere Horror, colore 97 minuti. - Produzione Italia 1977.

]]> http://caralhissimo.wordpress.com/?p=117 Wed, 07 May 2008 19:54:12 +0000 Luis Henrique Boaventura http://caralhissimo.wordpress.com/2008/05/07/suspiria-dario-argento/

Já deste aqui eu esperava mais. Ser um filme maravilhosamente lindo (visualmente) é a princípio o que o salva. Ou talvez o que o mantenha abaixo do “sensacional!” que eu sinceramente gostaria de disparar a seu respeito… Porque a mistura do ‘trash’ com a extrema sofisticação visual torna Suspiria um tanto esquizofrênico, um filme de identidade flutuante (sem que haja, aparentemente, uma razão pra isso. Tanto ‘racional’ quando de ‘efeito’ cinematográfico).

Os primeiros 15 minutos pressupõem uma obra-prima absoluta, mas é exatamente onde a afinação inacreditável entre Argento e Goblin começa a perder o efeito do encanto ainda ativo desde Profondo Rosso. Não que seja ruim, a léguas disso. É sensacional, Goblin + Argento = orgasmo de cinema. Mas não há a mesmo intensidade, a mesma agressividade, não há navalhas nos acordes dos caras, dessa vez. Basicamente, Argento e Goblin sofrem da comparação com eles mesmos, e estranhamente, fazem de Suspiria uma pirâmide invertida, com seu pico de tensão no início e um final que parece não render o que deveria.

Mas é um ótimo filme. Uma das coisas mais interessantes é que a identidade do assassino, aqui, é irrelevante, tomando mais proporção a própria atmosfera da mansão, naquela utilização sobrenatural da câmera subjetiva e que nunca sabemos se, afinal, é subjetiva mesmo ou não. O caminhar progressivo sobre os corredores lembram os percursos quase alados da steady cam de Stanley Kubrick em O Iluminado, e é especialmente incrível uma tomada superior das duas meninas conversando numa piscina.

Além de tudo há um uso opressivo de cores que inundam completamente a tela. O verde, o azul e o vermelho praticamente compõem uma pintura viva de 90 minutos. É lindo, como eu disse. Ainda assim, a sensação de que me foi entregue menos do que me disseram os 15 primeiros minutos (e a própria expectativa inevitável) continua forte.

3/4

The story follows Sarah, played perfectly by Asia Argento (Dario’s daughter) as she accidentally opens an ancient urn and releases the spirit of the third and final evil witch known as the Mother of Tears. The evil power proceeds to cause all sorts of havoc in the form of suicides, brutal murders and bizarre rituals. As Sarah begins to figure out what is going on, so does she realise her supernatural powers, and a visit or two from the ghost of her mother helps her become strong enough to fight the evil which has plagued Italy and is causing chaos, before it is too late. Incidentally Asia’s real life mother Daria Nicolodi, who also had a major role in Argento’s earlier film Tenebrae, plays Sarah’s mother in this film.

A particularly spooky soundtrack by Claudio Simonetti helps to create an extremely morbid atmosphere, something very different from the two other films in the series, especially Suspiria with its 70s-style electronic feel created by Argento favourites The Goblins, of which Simonetti was a member. The music is more similar to Argento’s two episodes from the recent Masters of Horror series.

Some of the acting skills in the film are questionable, but it doesn’t detract too much from the narrative. Asia leads the way though and does a very good job in her role as a frightened girl on the run. Genre favourite Udo Kier also pops up for a brief scene, much like he did in the original Suspiria. No one else really stands out in the film, but the viewer will most likely be able to forgive this as most characters meet more and more inventive and gruesome ends.

Anyone familiar with Dario Argento’s work will notice the old style creeping back in with long sweeping camera shots following the action. In the earlier work from the 70s and 80s we were treated to an almost psychedelic and dreamlike film making style with gore galore. Now this style has been updated with slicker camera work and sicker blood and guts. Its very extreme and very entertaining and there should be something in there for every horror fan out there, even if it is just to see Asia Argento in the shower.     Russell Gomm

.

We have three copies of the film to give away. To enter, answer this question:

Where is Dario Argento from?

Send your answers to competitions@the-void.co.uk with DARIO as the subject header.

émission diffusée le vendredi 11 avril à 16h
rediffusée le samedi 12 avril à 10h

à écouter ici

Actualité

3 films de Sidney Lumet : Serpico, The Offence, et Network (actuellement au Sémaphore - Nîmes)

La Zona de Rodrigo Pla (actuellement aux Arcades bis - Alès)

Death Note : Coffret 3DVD Volume 1 (film d'animation en DVD chez Kana, plus d'infos ici)

Dossier

Les Voyeurs reçoivent Angélique Boloré, présidente de l'association Sin'Art.

A l'origine il y a un fanzine dédié au cinéma de genre, Sueurs Froides

Puis, pour que les films évoqués soient disponibles, l'association Sin'art se lance dans la vente par correspondance de DVD. Aujourd'hui, le site centralise une base de données d'environ 10 000 titres.

L'association a mis également en place le fandom qui produit et diffuse plusieurs fanzines dédiés au cinéma. Elle s'est lancée depuis peu dans la production DVD...

Sin'Art vient d'oublier de fêter ses 10 ans d'activités de "passionnés pour des passionnés". Longue vie donc...

La BO de la semaine

The Crow d'Alex Proyas - Musique de Graeme Revell

Les Humeurs d'Erik

"Les entretiens et commentaires contenus dans ce programme constituent des éléments de divertissement"

Musique

Suspiria par Goblin (extraits de la Bande Originale du film de Dario Argento)