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I’ve seen this movie only once, and only a couple of days ago, but details are becoming vaguer and vaguer in my mind. This is never a noble effect. It was watchable, definitely, and it generated a very strong, surreal atmosphere throughout the first half, but it fails to go anywhere terribly consuming, and gets increasingly dumb as the film goes along. It’s detached worth seeing if you’re a fan of Dario Argento, but if you aren’t there are a helluva lot of others films you need to witness first.

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The film stars Asia Argento as a detective on the track of a serial rapist/murderer, who becomes the victim said criminal shortly after she is succumbs to the Stendhal Syndrome.(i.e. a strong physical reaction to a part of art. Fainting is the symptom in her case) There’s not noteworthy of a plot-arc here, as after the setup it is unbiased sort of a portrait of her life, as she takes a turn for the nutty after her experience, and is again victimized by the mild at-large killer. Remarkable of the early film is quite compelling, as Asia lives in a world somewhere between reality in fantasy, where she walks in and out of paintings, accompanied by Ennio Morricone’s repetitive and haunting procure. However, the more surreal aspects of the film are de-emphasized in the latter portions, and are, sadly, not replaced by increased status development or action. And, even the effective earlier portions tends to be less effective than his Dario’s best work. My predicament with the second half is probably heightened by the fact that I stumbled across what happens at the slay of the film before actually viewing it. However, this is accurate of most of the Argento films I’ve seen, and none of the others have faultered in the latter portions to nearly the same extent. Beyond this, the hints as to the conclusion of the film are so incredibly blatant that I suspect most viewers will have no trouble figuring it out long before the ending, though I certainly couldn’t say for definite.(I’m also perhaps a bit influenced some of the reviews I’ve read before hand, which said that it started fair strong but got humdrum by the second half. But I kinda doubt this effected me too distinguished. There fair isn’t anything of interest going on in most of the second half of the film.)

Many people have talked about how disturbing the rape-scenes in this film are. Personally I’m not affected by them powerful. I guess this is because rape is, presumably, most disturbing and painful from a psychological standpoint, and I unprejudiced can’t connect that plot. But, lots of people are haunted by them, so contemplate yourself warned. This is a different sort of thriller than most of Argento’s most notorious work, so there is less of an emphasis on the awe set-piece. What this comes down to is that there aren’t any really effective terror or violence related scenes in the film. Most horribly, they employ some absolutely evil computer animation for some gore and other visual effects. If you can’t afford decent CGI, don’t exercise it, for God’s sake!

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The acting is a mixed bag, as usual. Asia is acceptable, if not astonishing, other than in the scenes where she is supposed to be ‘tough’ which she can’t pull of at all. The rapist is magnificent capable too, very creepy while unruffled seeming more or less human. No one else in the film is apt of particular mention.

As many have said, the DVD does behold rather crappy, though it isn’t quite as abominable as I’d imagined considering unprejudiced how maligned it is.(It’s not far off, however) Smooth, if you’re expecting something like the various Anchor Bay releases of Dario Argento’s films your gonna be in for a putrid surprise.

Definitely subpar, but with enough effective aspects to get it worth checking out, it you’re into this sort of stuff.

THE STENDHAL SYNDROME

[La Sindrome di Stendhal]

(Italy – 1995)

Aspect ratio: 1.66:1

Theatrical soundtrack: Dolby Digital

Quite unlike anything Dario Argento has directed before, THE STENDHAL SYNDROME is a grimly realistic portrait of a female police officer (Asia Argento, essentially miscast) whose encounters with a sadistic rapist/serial killer (Thomas Kretschmann) have devastating consequences. Though famous by some truly horrific violence, played straight by Argento with few of his trademark stylistic flourishes, the film is distinguished too languid for its absorb expedient, wasting a lot of important time on an otherwise laudable attempt to depict the long-term consequences of a vicious sexual assault on the central character. Furthermore, the harsh subject matter allows no room for levity, and the austere scenario is at odds with the sumptuous artwork that acts as a catalyst for the murderous proceedings. Asia’s convulsive reactions to works of art (hence the ornate title) makes her a target for Kretschmann’s psychopathic killer, allowing Argento to enjoy the conceal with paintings, sculptures and resplendent objet d’art, which offsets the film’s gain lack of visual flair.

But there’s a fierce intelligence underpinning the somewhat predictable scenario: When Asia de-emphasizes her femininity in response to the initial attack, only to re-establish her womanhood after a second assault in which she emerges the victor (or does she? ), it becomes easier to forgive the painfully definite surprises which clog up the final quarter. Only one scene recalls the best of Argento’s work: A potential victim being stalked through a dimly lit room pudgy of oversized marble statues, a brilliantly edited sequence which suggests everything and reveals nothing. Overall, “Stendhal” may not be vintage Argento, but it’s too clever and too unsettling to be easily dismissed, and it gets under the skin like no other scare film in unusual memory. Look it and execute up your fill mind.

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