Mystery/Thriller
1 hour and 39 minutes
Rated PG
Written by: Dario Argento
Directed by: Dario Argento
Produced by: Salvatore Argento
Cast:
Michael Brandon
Mimsy Farmer
When the flies start to crawl, so will your flesh...
Italian master of horror Dario Argento has been dubbed many things, most notably "the Italian Hitchcock". He was appropriately given that title, considering how intelligent and suspenseful his entries in the giallo subgenre are. Four Flies on Grey Velvet is no exception.
The third and final film in Argento's "Animal" trilogy of gialli films, Four Flies on Grey Velvet follows all the genre rules appropriately: faceless killer antagonizes our protagonist, and forces him (in this case, it's a him) into finding out the killer's identity - which in true giallo fashion - is revealed to be a character well known to both the hero and the audience.
So what makes Four Flies stand out? For one thing, it's a Dario Argento film. Argento's attention to detail is what sets him so brilliantly apart from other giallo filmmakers including Lucio Fulci and Mario Bava. His cinematography - in this case photographed by Franco Di Giacomo - is so thought out, that every shot, and every camera angle, is used in an almost scientific manner to convey a sense of terror and suspense. Argento has a way of making horrific sequences of violence and death so beautiful. This talent is so uniquely his as an auteur, and was maybe only ever matched by the late, great godfather of Italian horror: Mario Bava. The car crash at the end of the film, the scene that kills the antagonist, is one of Argento's most beautifully directed moments. Shot entirely in slow-motion, the epic death of the killer moves as slowly and gracefully as an artist painting a landscape.
Also commendable is the film's musical score. As was the case with the first two films in Argento's "Animal" trilogy, the score was composed by the great Ennio Morricone - who's work stretches back to Nightmare Castle and A Fistful of Dollars. Here, Morricone goes for a more modern feel. Heavy, jazz drums over bass lines give the film a much more 1970s feel. Not to be left out, is the melodic piece within the score. Light vocals over what sounds like a harpsichord are also an impeccable addition to the film's soundtrack. Morricone's scores work appropriately where they are needed.
The film's acting is quite impressive, although perhaps not as good as in previous Argento films - there are still plenty of standout performances. Michael Brandon does a convincing job as the protagonist, making us feel as confused and paranoid as he is. Jean-Pierre Marielle gives an amazing performance as a flamboyant, homosexual private investigator. Marielle's character is the only one within the film that's truly one hundred percent likable, making his death scene (which is also beautifully shot) all the more devastating. But it is genre legend Mimsy Farmer, who would go on to star in other Italian horror films, that truly gives the standout performance of the film. Throughout the film's first and second acts, Farmer has little more to do than voice her disapproval of Brandon's handling of the situation. But in the film's rather remarkable twist ending - in a period of maybe ten minutes at most - Farmer is capable of delivering a performance lightyears ahead of anyone else's within the film.
A lot of the scenes in Four Flies occur in almost complete darkness. This makes much of the goings-on in several scenes hard to see. While it could be argued to be a technical problem, I strongly believe the near blackness was intentional. Argento is too good of a filmmaker to let a technical problem like that occur multiple times. I believe, the near blackness was intentional. Argento was most likely trying to play off of the common fear of the dark. It's easy to relate to the hero when he awakens to an unfamiliar sound in the night. He searches what should be his cozy familiar home, only to find it to be terrifying in the blackness. We've all had the nightmare of not being alone in our darkened homes, and I feel Argento wanted to exploit that to the film's benefit.
Not to the film's benefit is the ridiculous retina scene. While the pulp magazines that gialli films were derived from often used the idea that the victim's last vision is embedded on their retina, and that this vision could be retrieved - seemed plausible for the dark fiction stories, it is ludicrous when shown on the screen. It is really the only unbelievable moment within the film, and it borders on the line of science-fiction. Perhaps if it was discussed throughout the entire film it could've worked, but it's quick introduction and exiting within the story just seems over-the-top and too blatant to work.
While it may not be Dario Argento's greatest film, Four Flies on Grey Velvet is an outstanding giallo film, filled with beautiful cinematography, gorgeous death sequences, a mostly believable plot, a terrific score, and above average performances.
8.5/10
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