Giallo

Giallo

Giallo

Giallo

Acceptable gory killing film in which Dario Argento demonstrates his penchant for original ideas and creative directing . In Torino, Celine ,Italy, a woman named Linda (Emmanuelle Seigner , Roman Polanski's wife) fears her sister , a fashion model girl named Celine (Elsa Pataky, at that time Brody's girlfriend) , may have been abducted . Obstinate Inspector Enzo Avolfi (Adrien Brody, also producer) gets some clues and fears it's worse . When a Japanese young girl is found at nearby a fountain, Enzo and Linda along with Chief Inspector named Mori (Robert Miano) find that the woman is calling the sadistic kidnapper's skin is "Yellow" . Both of whom team up to rescue her from a sadistic murderous known only as Yellow, or Giallo . The Inspector along with Linda start following the tracks that lead a cab man who might have jaundice and they go to a hospital. Classic though average Gialli with imaginatively staged gory killings by the master of horror, the talented writer/director Dario Argento . Italian cult director Dario Argento, master of arty gore, brings this eerie and stylish story plagued with depraved gore murders . Exciting film with stylish , effective aesthetic that packs lots of gore , guts , chilling assassinations and twists plots . This is a trademark terror work for the Horrormeister Argento with high tension quotient and equally elevated suspense by means of an ever-fluid camera that achieves colorful shots well photographed by the cameraman Frederic Fasano. Noteworthy for intelligent edition work that tightens the mystery , glimmer use of color and distinctive utilization of shock images . Sometimes weak screenplay is added to nice but gory special effects . Thrilling musical score by Marco Weba with suspenseful whispers combining to fortissimo soundtrack which help achieve incredible creepy moments . The terror pieces are well staged with eye-opening flair-play and contain obscure tracks to the denouement of the script . This scary motion picture is professionally directed by Dario Argento , though uninspired and with no too much originality. Argento is one of those film-makers (other examples are Mario Bava and Riccardo Freda ) who set off simple for frightening us to death . His period of biggest hits were the 70s when he directed the animals trilogy : ¨Four flies over gray velvet¨, ¨The cat of nine tails¨, ¨Bird with the crystal plumage¨, after he directed some masterpieces as ¨Suspiria¨, ¨Inferno¨ , ¨Tenebre¨ and of course ¨Deep red¨ , one of the best ¨Giallo . In 1995 Argento made a comeback to the horror genre with ¨La Sindrome Di Stendhal (1996)¨ and then by another version of ¨The phantom of the Opera¨ (1998) both of which starred by his daughter Asia Argento . Most recently, Argento directed a number of 'giallo' mystery thrillers which include Insomnio (2001), ¨Il Cartaio (2004)¨, and ¨Ti Piace Hitchcock?¨ (2005), as well as two creepy , supernatural-themed episodes of the USA TV cable anthology series "Masters of Horror". Furthermore , to his Gothic and violent style of storytelling , ¨La Terza Madre (2007)¨ has a lot of references to the previous two movies as 'Suspiria and Inferno' which is a must for fans of the trilogy . And finally directed this so-so film called ¨Giallo¨ . This bloody fun plenty of graphic gore and weirdness may not be for all tastes but to be liked for Argento connoisseurs especially .

Since the late 1990s, Dario Argento has been a director in a state of serious decline, a development made even more crippling due to the fact that, at one time, this now-elderly filmmaker played a highly influential role in mapping out the cinematic landscape of Italian horror and mystery (dubbed "giallo" after its roots in seedy paperback crime novels). It has been 15 years since his most noteworthy feature, 1995's underrated "Stendhal Syndrome," and up until now, he has been frantically trying to recapture the flavor of his celebrated early works ("Suspiria"; "Profondo Rosso"; "The Bird with the Crystal Plumage"); problem is, the more frantically he tries, the more pathetic his efforts become. Despite its ironic title, "Giallo" owes less to the heyday of seedy Spaghetti Thrillers and more to Argento's listless, lethargic latter-day efforts: an amalgam of poor script translation (and subsequent dubbing and sound sync), awkward performances, tortoise-paced exposition, and unimpressive gore. There are threads of backstory that go maddeningly unexplored (instead of connecting the traumatic upbringings of the cop and killer, these are instead turned into throwaway details left to flit in the wind), and the film ends with an intended ambiguity that comes off (quite disastrously) as an apathetic, pseudo-art house shrug. Even the presence of the usually-reliable Adrien Brody cannot bring "Giallo" up from its low-rent depths; his performance a monosyllabic sleepwalk that, like Argento, never seems more than half-conscious.

In Italy, a woman fears her sister may have been kidnapped. Inspector Enzo Avolfi (Adrien Brody) fears it's worse. They team up to rescue her from a sadistic killer known only as Yellow. I don't care what anyone says: Argento has not lost his touch. Maybe he's less stylish than he used to be, maybe the higher production values have made him soft. I don't know. He still tells a good story, and has that same suspense and gore that I have come to love from the master. Adrien Brody, of course, must be praised here. The word is that he replaced Ray Liotta. Liotta is great, but Brody is a great actor by all accounts, and despite looking a bit odd here, he does great. Doing double duty shows even more how versatile he is. Asia Argento was supposed to be the female lead, and I'm sad that she was not... but, you can't win them all. Sure, this isn't as great as "Suspiria" or "Deep Red" or what-have-you... but look at the modern work of Wes Craven or George Romero, and tell me that Argento doesn't hold up as good or better than our horror icons.

Now this either one of the most genius attempts, to spoof the "Giallo" movies or just another proof that Argento "lost his touch" (if you believe he even had something like that to begin with). Don't get me wrong, you can enjoy this movie and I kind of did. But to do just that, you have to accept this movie as a comedy. Not Horror, not thriller, not even something worthy of the acting talent of one Adrien Brody, but a silly comedy. A movie or a play that you would probably see kids playing. Although that might be insulting to the kids (which I'm not trying to do), it is really embarrassing for the actors. Watching Emmanuelle Seigner "act", it will either hurt you (physically and psychologically)! But again, if you accept this all as a comedy, even the villain Mr. Byron Deidra (and you know who that is, believe me, maybe he shouldn't have played in the movie at all!) is off ... as is Mr. Brody. I'm not going into details, because this is supposed to be a big thing/twist, but it's really ridiculous! While I had fun and almost laughed through the whole movie, some Argento fans, really had a bad time and were angry that people actually laughed at the movie. I think it's better than crying, but there you ...

When the man responsible for some of the best giallos ever made directs a movie simply titled Giallo, then I suppose one might reasonably expect him to fully embrace the conventions of the genre (many of which he was instrumental in establishing). Instead, Argento only loosely follows the giallo format, the grimy approach he adopts being more akin to the recent US 'torture *' trend, a fact that has unsurprisingly caused something of a critical backlash from fans of Italian horror. But although Giallo clearly doesn't warrant its title, and, devoid of his usual visual flair and labyrinthine storytelling, is far from the director's best work, neither is it totally deserving of the drubbing it has received. The film moves along briskly enough, switching regularly between crime and police procedure to ensure that boredom never sets in; the hero cop-with-a-dark-past, Enzo Avolfi, is played with conviction by Adrien Brody; Emmanuelle Seigner makes for a decent enough side-kick; the rather lovely Elsa Pataky is required only to look scared and beautiful, but does so convincingly; and the strangely familiar killer is delightfully daft—an ugly, dummy-sucking, bandana-wearing taxi-driver with yellow skin (caused by a dose of Hepatitis C, inherited from his junkie mother) and a hatred of all things beautiful. Argento also finds time for a few seriously nasty moments, including a graphic hammer to the skull scene, a nasty bit of finger pruning (resulting in plenty of pumping blood), and a wince-inducing moment involving shards of broken glass. Whilst it is true that Argento's typical sense of style might be lacking on this occasion, there is still enough to enjoy about this film to make it worth a go—after all, even Argento at his worst is better than many other directors at their best.

Celine (Elsa Pataky) is a beautiful model, who was supposed to meet her older sister Linda (Emmanuelle Seigner) at Celine's apartment. Since Linda is on vacation to see her younger sister. When Celine takes an Taxi to her apartment, she takes the wrong taxi. She is stalked and kidnapped by a deranged killer (Byron Diedra). Which this killer enjoys to mutilate them and murder them. Also he loves to photographed his victims that gives him sexual pleasure. Linda meets an Inspector Ezno Abolfi (Oscar-Winner:Adrien Brody), which this Inspector is on the murder case. Now Enzo is forced to work with Linda to find her sister before Celine gets killed by the psychopath. Directed by Dario Argento (Opera, Phenomena, Trauma) made an straightforward thriller with some elements of horror and an few moments of black comedy. Although Argento's latest film is less stylized than usual and the movie is more suspenseful than gory. Oscar-Winner:Brody does an good job with his very low-key performance. Seigner does well in her role. Pataky plays the victim fine. Diedra, who is actually Oscar-Winner actor Brody, who is nearly unrecognizable in his role. Which it is anagram of his name. DVD has an fine if sometimes grainy anamorphic Widescreen (1.85:1) transfer and an good Dolby Digital 5.1 Surround Sound. DVD's only extra is the original theatrical trailer. "Giallo" is a pretty good thriller that could have been better, especially during the third act. Although Argento disowned this movie, since he couldn't cut the movie, he way, he wanted the picture to be. Oscar-Winner:Brody has filed an suit against the filmmaker, since he claimed he wasn't paid for the movie and he tried to prevent the film's release on DVD and he recently won the lawsuit. Brody gives two different performance, he is good as the Inspector and he is so-so as the killer. Die-Hard fans of Argento's work might like this best. Screenwriters:Jim Agnew (Game of Death) and Sean Keller's original screenplay was heavily re-written by the director. Although the script was written for the director. (*** ½/*****).

Dario Argento's latest "Giallo" is definitely brutal and grim, but regretfully still not a genuine throwback to the old-fashioned years of the Giallo; a sub genre of horror that Argento pretty much co-founded as well. This is one of the first times in his career that Argento didn't write the original screenplay himself, but he easily could have, since the film is chock-full of his usual trademarks, including misogynist torture, macho cop characters and a killer character with a hideous appearance and sick persona. In the city of Turin, a hood-capped killer abducts pretty young girls in his taxi and takes them to his secret liar where he has an operating table and a wide selection of delightful torture devices. When the killer was just a baby, apparently his heroine-addicted prostitute of a mother dropped him off at a nunnery in a plastic bag. I suppose that causes something irreversible damage to the fragile mind of a young boy. He also has a liver disease that makes the color of his skin kind of yellow; hence the title. When he kidnaps the gorgeous young model Celine, her older sister Linda teams up with Inspector Enzo Avolfi, who's actually a pretty introvert and reasonably creepy individual himself. The plot of "Giallo" is ultra-thin and not nearly as imaginative as they used to be, with a truckload of red herrings and more twists than a French mountain road, but there are still multiple moments of gripping suspense. The violence, however, is following the trend of the nowadays torture * flicks (like "Hostel" and "Saw") and just comes across as repulsive, gratuitous and uncompromising. The sniveling killer pulls teeth and carves up the girls' pretty faces like he's on the set of the umpteenth unnecessary torture * flick instead of a Dario Argento Giallo homage. The murders in Gialli movies have always been sadistic and gruesome, but at least they were often presented in style. But enough complaints now, as "Giallo" undeniably still is a worthwhile film for Dario Argento fanatics like myself and many others. I'm sick and tired of reading stuff like how the legendary Italian director Dario Argento lost his magical touch and ought to retire! As far as I'm concerned, Argento is still the only one who delivered a genuine Giallo in the post-2000's (with "Sleepless") and his other efforts like "The Third Mother", "Do you like Hitchcock" and the two episodes in Masters of Horror are fantastic entertainment.