Horror/Mystery/Thriller
1 hour and 57 minutes
Rated: R
Written by: Dario Argento, Franco Ferrini, and Carlo Lucarelli
Directed by: Dario Argento
Produced by: Claudio Argento & Dario Argento
Cast:
Max von Sydow
Stefano Dionisi
Chiara Caselli
Roberto Zibetti
Gabriele Lavia
Creepier than Jack the Ripper
So much has been said over the years about the films of Dario Argento that it's no surprise at all that several books have been written about this legendary auteur du macabre even though his career has yet to come to an end (and hopefully, for all of us horror junkies it won't be ending any time soon). One of the biggest trends - especially on the internet - when it comes to discussing Argento's career tends to be a general praise for his earlier films and an overall dismissal, if not downright hatred for his later works. Ask any Argento fan and they'll usually pinpoint a moment in Argento's career (mostly sometime in the 1980s) where, according to him or her, the director's filmography went entirely downhill afterwards. This is perhaps too harsh of a collective opinion that has been assigned to Argento's later films. While there can be no doubt that most of his films following Opera lack much in the way of genius that was present in his earlier works, they're still enormously entertaining films. And let's be clear here, an okay Dario Argento movie is still lightyears ahead of most of the mainstream garbage being churned out by the major studios. That being said, to be fair, there are still a few abysmal films I'm sure even Argento wishes he had never done (Giallo and The Phantom of the Opera come to mind). Still, it should also be noted that among Argento's newer, largely dismissed filmography, there are in fact some gems that showcase the director's brilliance. Sleepless is unquestionably one of those movies.
The story itself is incredibly enthralling, and in many ways is classic Argento. While he's always been a filmmaker that's focused heavily on the technical qualities over anything else, Argento has proven with film's like Deep Red and The Bird with the Crystal Plumage that he is more than capable when it comes to constructing an engaging, intelligent, and entertaining story. Sleepless in many ways feels like a callback to those two previously mentioned films. All three are gialli, all three seem to have a storyline that Argento put much time and dedication into, and both Deep Red and Sleepless seem to have the added benefit of the technical wizardry that Argento became known for with movies like Suspiria, Inferno, Tenebre, and Opera. Sleepless's story will have viewers guessing until the very end, and no doubt the classic-Argento twist will come as a surprise to damn near everyone watching it. The kills are bloody and brutal (more on this in a second) and they're paced terrifically throughout the plot adding to the overall levels of dread and suspense.
Cinematographer Ronnie Taylor, who had previously filmed Argento's movies Opera and The Phantom of the Opera, brings his level of expertise to the table in ways that allows for Argento's creativity to really blossom. There are moments throughout Sleepless where the camera movement plays with the viewer's mind. We become unsure if what we're seeing is the killer's, or someone's, POV or if it's purely just movement for the sake of movement. This is pure Argento. Taylor and Argento add a new level of trickery in Sleepless with their camera movement: foreshadowing. The camera flows to spots and locations of violence before they ever occur, alluding to the bloody moments yet to come. The lighting throughout Sleepless feels cold and devoid of color - with one exception - which adds to the overall dread and tension of the film. Taylor captures Turin in ways that make it feel like a small town full of dark secrets. In the one sequence of surprising kaleidoscopic color involving a murder aboard a train, Taylor and Argento bring to mind moments from Suspiria and Inferno of beautiful women being hunted by a black gloved murderer as torrential rain obscures the passing streetlights.
Sleepless also showcases some fantastically brutal death sequences that are on par with some of Argento's previous works. Special effects maestro Sergio Stivaletti accomplishes all of this with the skill and precision of a true master. Stivaletti, to this day, remains one of the great practical effects artists still working in the business - on par with Tom Savini or Greg Nicotero. A murder involving a woman being stabbed to death with a musical instrument is unforgettably brutal and is, despite its brevity, the standout death of the entire film. Despite most of the effects within Sleepless working and working well, there is one moment that unfortunately falls flat. When the murderer decapitates a ballet dancer, the severed head that falls to the floor looks incredibly fake, and surprisingly quite rubbery - as if it were bought in a Halloween shop. This is surprising given Stivaletti's talent, but thankfully editor Anna Napoli didn't allow for the sequence to linger for too long in the final cut.
The film's acting is, for the most part, very good. The film begins with some obviously dubbed performances, but these are easily forgiven since one always has the understanding that dubbing - good or bad - plays a part in most foreign films. Max von Sydow absolutely shines as retired cop Moretti, fighting off the beginnings of dementia. His passion for the case, the one thing that seems to be keeping his mind sharp, is contagious and viewers no doubt will feel just as thrilled to find the next clue as Moretti is. Stefano Dionisi holds his own against Sydow, and the two function well together throughout the film. Gabriele Lavia, who had previously appeared in Argento's films Deep Red and Inferno, is absolutely terrific, but one wishes his character had been given more screen time. The supporting cast of Chiara Caselli, Rosella Falk, and Roberto Zibetti all do a fine job in their respected rolls, and Zibetti does have moments in the film where he too surprises and shines taking his character to unexpected levels.
The film's score, composed by a reunited Goblin, is also worth mentioning. While it is far from the work Goblin did for the soundtracks of Deep Red, Suspiria, or Dawn of the Dead, it is actually a really terrific soundtrack. Its classic prog-rock sound adds nicely to the building tension and overall brutality that is present throughout the film, even if it dates the film in any kind of manner. There seems to be a clear focus - like with the film's story - to the soundtrack that had been missing from Argento's films for quite some time (the soundtrack to Phenomena was all over the place).
While it is far from being his best motion-picture, Sleepless remains an absolutely brilliant, horrifying, brutal, well-acted, and engaging giallo that doesn't deserve the overall dismissal and disapproval that fans have plagued all of Dario Argento's newer films with. Its brilliant story, shocking twist, unique and technically oriented camerawork, prog-rock score by frequent Argento collaborators Goblin, largely impressive special effects by maestro Sergio Stivaletti, and terrific performances by a supremely talented cast led by Max von Sydow, all make Sleepless feel like it's classic Argento.
8.5/10
No comments:
Post a Comment