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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 pleasurable impress. It was watchable, definitely, and it generated a very strong, surreal atmosphere throughout the first half, but it fails to go anywhere terribly keen, and gets increasingly dumb as the film goes along. It’s unruffled 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 gape 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 section of art. Fainting is the symptom in her case) There’s not grand of a plot-arc here, as after the setup it is objective 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. Great 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 obtain. However, the more surreal aspects of the film are de-emphasized in the latter portions, and are, sadly, not replaced by increased site development or action. And, even the effective earlier portions tends to be less effective than his Dario’s best work. My scrape with the second half is probably heightened by the fact that I stumbled across what happens at the raze of the film before actually viewing it. However, this is lawful 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 anguish figuring it out long before the ending, though I certainly couldn’t say for sure.(I’m also perhaps a bit influenced some of the reviews I’ve read before hand, which said that it started delicate strong but got humdrum by the second half. But I kinda doubt this effected me too distinguished. There honest 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 mighty. I guess this is because rape is, presumably, most disturbing and painful from a psychological standpoint, and I unbiased can’t connect that device. But, lots of people are stunned by them, so judge yourself warned. This is a different sort of thriller than most of Argento’s most noted work, so there is less of an emphasis on the alarm set-piece. What this comes down to is that there aren’t any really effective awe or violence related scenes in the film. Most horribly, they consume some absolutely ugly computer animation for some gore and other visual effects. If you can’t afford decent CGI, don’t expend it, for God’s sake!
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The acting is a mixed bag, as usual. Asia is acceptable, if not fantastic, other than in the scenes where she is supposed to be ‘tough’ which she can’t pull of at all. The rapist is aesthetic wonderful too, very creepy while composed seeming more or less human. No one else in the film is favorable of particular mention.
As many have said, the DVD does stare rather crappy, though it isn’t quite as terrible as I’d imagined considering honest how maligned it is.(It’s not far off, however) Level-headed, if you’re expecting something like the various Anchor Bay releases of Dario Argento’s films your gonna be in for a ghastly surprise.
Definitely subpar, but with enough effective aspects to effect 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 well-known by some truly horrific violence, played straight by Argento with few of his trademark stylistic flourishes, the film is distinguished too languid for its beget worthy, wasting a lot of notable 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 occupy the shroud with paintings, sculptures and fine objet d’art, which offsets the film’s fill 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 fleshy 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 panic film in unusual memory. Watch it and effect up your occupy mind.
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