Step One: Go to www.random.org.
Step Two: Pick a Number.
Step Three: GET WEIRD!
The Stendhal Syndrome
A young policewoman slowly goes insane while tracking down an elusive serial rapist/killer through Italy when she herself becomes a victim of the brutal man's obsession.
I actually kind of love The Stendhal Syndrome. As the first film made in Italy to feature CGI effects you can bet they are not very well done, and the copy I watched made it look like it was shot on video, a notion I haven't been able to confirm through casual research. But for me that just adds to its charm, kind of like the DIY look of Francis Ford Coppola's most recent Twixt, a film that I loved through and through for the way it represents a singular, uncompromised artistic vision. In the very psychological Stendhal Syndrome, Argento delves into the mind of Detective Anna Manni (played by his daughter Asia), a victim of a brutal rape whose…
Gone is the surreal use of color, the leather-glove-clad psychopaths, the exhilarating soundscapes of Claudio Simonetti, and the bordering-on-fetishistic attention to detail. In their place, simpler pleasures have been provided. A stripped down visual style, more of a focus on psychological horrors, and reuniting with artistic collaborators of yesteryear seem to be just a few of the defining qualities of Dario Argento's later career; and if this is indeed true, then The Stendhal Syndrome is the culmination of it. Instead of more distinctive villains, we get everyday killers; and instead of Goblin, we get Ennio Morricone (though I'm sure no one is complaining about that one).
It's probably just a bit too easy to dismiss the film on first sight,…
Starring Asia Argento as the world's most miscast cop, THE STENDHAL SYNDROME is a dizzying, dazzling, baffling latter day effort from the father of the doe-eyed, teenage "detective."
This subject matter is tailor-made for Argento--mostly post-Freudian claptrap that gives him plenty of room to stretch out along the fringes of realism where he operates best.
You know you're watching a quality Argento when you're asking yourself "what the hell am I seeing?" in an awestruck way rather than a "where was his fact-checker?" kind of way, and THE STENDHAL SYNDROME is so visually bewitching, formally inventive, and high on its own limitless possibilities that it stays on the right side of this divide for the majority of its running time.…
I find The Stendhal Syndrome to be incredibly underrated among Dario Argento's films. It doesn't get talked about a lot, and I have no idea why. I think it's extraordinary. Asia Argento delivers a phenomenal performance as the detective who is stalked by a vicious serial killer and who suffers from the title ailment – that is, she becomes so overwhelmed by great works of art that she passes out and temporarily loses her memory. Though it amounts to little more than a subplot, it's still fascinating, and both Argentos masterfully convey this in the opening sequence. The film does tend to run a little long, but it's never boring, and I would certainly rank The Stendhal Syndrome among my…
This is probably the closest that Dario Argento ever came to making a restrained drama, with the emphasis not so much on stylish murder scenes but on psychological trauma. But Argento's visual style is fully present here - he's the type of guy who will slowly twirl a camera on its axis during a mundane phone conversation just to keep things interesting, or cut to an esophagus POV shot that would probably make Vince Gilligan jealous if it wasn't such shitty CGI. As you can probably imagine, though, character study is not Argento's strong suit, and he's reverted almost entirely to his old tricks by the end (does anyone do exposition-via-rushed-whispering as well as Argento does?). An interesting experiment, but not as satisfying as his best movies.
I've said it for years: Some people just appreciate art on a deeper level than others.
CG was a mistake.
Returning to Italy for production on his next picture, Argento returns to the giallo with that Italian flair grossly missing from Trauma. Though it is still marred with problems he can't quite overcome.
The film follows police inspector Anna, played by Argento's daughter Asia (more on that in a minute), who suffers from Stendhal Syndrome. This syndrome causes her to become physically overwhelmed by the sight of art. She suffers amnesia at the beginning of the film caused by an exceptionally strong episode. What she chiefly forgets is that she is on the hunt for a serial rapist/murderer. This proves to near fatal as she falls victim to the hunted man. What begins is an intricate…
Strange movie. I like it!
Despite how low he has sunk at times, this is a contender for one of the worst films that Dario Argento has directed (well . . . . . . there will always be Dracula 3D to keep the others safe).
Asia Argento can't act. She managed to be bearable in Land Of The Dead, but that was about it. And here she consistently doesn't act in between scenes that don't do enough to make up for that fact.
There are one or two lovely visual flourishes, as you would expect, but the rest of the film is strangely flat, or even downright ugly when it comes to the unnecessary use of a few CGI effects.
Part of Hooptober 3.0.
Argento has always had a fascination with art in his films, whether it's the beautiful Roman architecture or the paintings that play an important role in solving a mystery. The Stendhal Syndrome places the art front and center, making it a main character for at least the first half of the film. This is also the most graphic film I've seen from him, with lots of blood and some seriously disturbing rape scenes featuring his daughter Asia no less.
While the film excels in putting you in the mind of someone perhaps losing their shit, it seemed to veer into more familiar territory in its second half, devolving into a standard murder mystery with an ending…
I had intended to focus on mostly Giallo this week but this movie disturbed me so much that I was reluctant to go further down that route. Although I am generally a fan of Giallo in general and Dario Argento in particular, I just kept thinking about the fact that he was filming his daughter in incredibly sexualized rape scenes, which just feels so creepy to me.
The title is a reference to an actual condition where a person has an extremely intense response to an experience, particularly art — and the movie opens with Asia Argento’s character, police detective Anna Manni, being affected by it while in the midst of pursuing a serial killer/rapist. She’s captured by this killer multiple times and the focus of the movie is really on how this affects her, which was an interesting spin, despite the creepiness.
Dario Argento's films are mainly worthwhile for their extraordinary suspense-horror setpieces and kick-ass soundtracks. This film is missing those hallmarks, and adds in some ugly CGI and rape sequences. It's far from the master's best work.
Argento's swan song? Probably. Feels like Argento's soul twists inside the film, pulling its central psychological trauma and horror inside out. Asia Argento's acting overcomes(or doesn't) the weirdness of her character being thrust into sexually violent situations. Her dubbing though hurts her performance. Spotty CGI and an extended resolution keep it from being a great Argento film. It still manages to be stylish, fascinating, and the closest thing to Argento's Vertigo, but with a disturbing reversal.
A bad case of stendhal's syndrome drives young police officer Anna Manni straight into the arms of a vicious rapist and killer.
Dario Argento digs deep in some dark matters and let's his daughter Asia play the victim - everything is as usual at the Argento family. She's been exposed to a lot of messed up stuff in her father's movies but this is Dario's darkest film yet and Asia delivers her career's best role as the policewoman/rape victim Anna. Ennio Morricone's score is top-notch and The Stendhal Syndrome is a really fascinating pitch black tale about the human psyche, one of Argento's best screenplays. It's quite different from the rest of his filmography. Here's no stylistic violence or colorful views, it's gritty, dirty and mean. Impressive stuff, even for a master director like Argento!
" What separates art and sculpture from prose, film, drama, and music is that those media incorporate time as an element of the story, progressing in a more or less linear fashion from beginning to end. Paintings and sculptures do not have this luxury, and thus must evoke an emotional rapport and create a rhetorical space through a still image, implying motion with static visuals. The Stendhal Syndrome, in many ways, acts as a series of set pieces that are presented out of order, and must be ordered after viewing. You cannot read The Night Watch from left to right like a sentence; you first see the figures highlighted by chiaroscuro, and then focus on other faces, or the figures’…
Step One: Go to www.random.org.
This list contains classic stories from Italy about black gloved murderers but as well some other movies from europe in…