The bit with the glass is an extraordinary moment – obviously horrific and yet filmed with such graceful elegance – and looks like it was very dangerous to film too, even if it was sugar glass in lieu of the real thing.
PHENOMENA MOVIE SERIES
Vera escapes the house but doesn’t last long, fleeing to a series of cavernous tunnels that approach the nearby river and waterfall, coming to a literal dead-end, courtesy of extendable spike, falling glass and then decapitation. When you see that shot, you just know they’re going to be used in some horrendous fashion moment later. Just before that there’s a brilliant, foreboding shot of said scissors as they fall from a table and land on the floor with a horrible, piercing thud. Those chains unsurprisingly don’t last long, and Vera is suddenly attacked by the mystery prisoner, who strangles her with the chains and stabs her in the hand with a pair of scissors. She wanders towards a rustic, desolate house, sneaks in to look for help (calling out stuff like ‘help, I’m a foreigner’, which apparently incited giggles from audiences at the time) but someone else is in the house, someone chained to the wall. Blimey, have you ever heard their Dirty Work LP?Īfter the credits have passed and the tree has been scaled, we go back to Vera, who’s hoping to find a nearby, friendly place where she can get in touch with someone for help. Not back in ’85 though – she’s abandoned, cold and frightened, and in typical Argento fashion, the film decides to take a beautiful detour to gracefully pan up and up and up and up and up a very tall tree for the opening credits, backed by a creepy synthesiser score co-composed, surprisingly, by Rolling Stone bassist Bill Wyman! On the evidence of atmospheric pieces like this, it would have been nice if he’d had more of an influence over the Stones sound, which certainly needed livening up around this time. It’s funny when you consider how this scene would play differently now – mobile phones would ensure a hasty return trip and poor teenage Vera Brandt (Fiore Argento, Dario’s daughter) would have ended up alright. The opening scene is a corker, as a school bus takes off down a long, lonely road somewhere in Switzerland, leaving one of their class behind, stranded, alone and scared.
If what we love Argento for is his mad streak, his originality, his individuality, then surely one of his most out-there movies surely has to be a must-see, right? Not everyone agreed though, and it didn’t help that in the US it was cut by over half an hour, rebranded Creepers (neat title, but it made the film sound like a creepy-crawly horror), and sold as a traditional shocker, which it most certainly isn’t. You’re either with it, or you’re not, and I am so, so, so with this film that I can’t fathom why people think this is a lesser Argento work. It could all fall apart at any moment, and yet Argento, thanks to his sheer verve and bravura, keeps it together. It’s still pretty crazy stuff though, and what I love about this film is just how eccentric it is, yet it’s also played dead straight. So, where were we back in 1985? Well, after the return to giallo that was 1982’s Tenebrae, Argento went back to the supernatural ambience of Suspiria and Inferno, albeit with one foot still rooted in the real world (relatively, anyway) by attempting to explain this film’s specific phenomena (cross-species telepathy) with science.
PHENOMENA MOVIE MOVIE
That’s not a bad description, but there are things in this movie that are unique to this movie, and so I’m loathe to consider this a mere retread of past glories. Because of this, some have referred to Phenomena as something akin to an Argento greatest hits package. It’s a delightfully, brilliantly bonkers and strange mix. You know, chimps, insects, Iron Maiden, mutant children, telepathy, that sort of thing.
PHENOMENA MOVIE FULL
With the 1980’s in full swing, this saw Argento fully embrace the atmospheres and quirks of the decade – this is probably his most 1980’s movie of all his 1980’s movies – and then he threw in inimitable, mad quirks of his own. Let me get my opinion out there straight away – I adore it.
Some people love it for the fact that it’s all over the place, and others hate it for those very same reasons. Of all the films made during Dario Argento’s gold run of cinema (1975-1987), Phenomena is arguably the one with the most mixed fan reactions. The craziest Argento film, and that’s saying something…this review contains SPOILERS.
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