PART TWO - MISDIRECTION
Time for a little theatricality. And when I saw a little of course I mean as much as the Italian film-makers involved feel is appropriate. It's usually quite a lot. The shadows are dark, the blues are harsh, and the reds flow in gallons. While there's still time for one last look at a film by Michele Soavi it's also time to break away from the previous chapter of this little marathon. Although these are still all going to be murder mystery tales of some description. This time around there's one standard whodunnit and another story in which there's no mystery at all, but is bizarre nonetheless. But first a discussion of style over substance.
To kick things off it's the back stage thriller Stage Fright (1987) also known as Aquarius. Another story about a deranged killer escaping from a clinic and going on a rampage. What else is new? Certainly not the boilerplate storyline and the roster of victims. And yet it's all pretty compelling. There's a certain musical style to the whole thing that lends it an appropriate sense of theatre. In fact there's a general feeling that the location has been used as an excuse to give it all an extra layer of energy. At times it verges on becoming too silly but the tone is always fairly consistent. And this being Michele Soavi's debut makes it all the more impressive.
The plot is pretty basic but there's always that feeling that the writers are having fun with the tropes. The protagonist Alicia (Barbara Cupisti) sneaks out of the rehearsal to find a hospital after hurting herself, but it's a psychiatric ward. Here the killer escapes and finds a mask to wear, but it's an enormous owl head. He uses several power tools to kill some of her friends, but they can't be heard running until he's actually on screen. Later he survives being burned and shot just to look directly into the camera and acknowledge the cliché that movie bad guys always come back.
But at the same time it's not all so predictable. The theatre manager and the director are scumbags out to make a profit, and they meet a gruesome end as expected. But other characters would make it through alive in another film of this kind. There are several misdirects when it seems clear that the actors trapped inside the theatre can use their wits to escape. But random chance and sudden death is always lurking in the wings. Beyond the twists of fate it's simply a vibrant and entertaining escapade full of over acting and jazz music. It's not the most creative slasher movie but the necessary pieces are all used effectively and with flair.
4/5
Speaking of silliness, the equally theatrical Phantom of Death (1988) also gives away the killer's identity. It's clearly Robert (Michael York) the beloved pianist. But why you ask? Revenge? Jealousy? Despite the title suggesting this will be a story about stolen music it's actually something less obvious. Perhaps more ridiculous but unpredictable at least. Robert has a condition that is making him age at an advanced rate, a condition that drives him to kill. Why? Who can say. It's never clear if this is meant to be ageing his brain, but something about it is driving him crazy. Somewhere in here there's a story about vanity and ego, lost youth and talent. But this isn't that kind of film.
Instead this is a movie in which Robert kills various people, some who knew him when he was young and some who find out his condition. Meanwhile frustrated Inspector Datti (Donald Pleasence) keeps getting it wrong since his suspect is already much older whenever a clue is found. The resulting outburst after Datti is taunted by Robert from a phone box and repeatedly calls him a bastard is certainly something. Not exactly great acting or characterisation but something. Both lead actors feel out of place in this kind of project, but at least they try and chew the scenery wherever possible.
It's hard to describe this as a cat and mouse thriller, since the killer is never in any real danger of being caught. It's also hard to describe this as a compelling drama since his motives for causing so much bloodshed are unclear. It does offer one very effective scene in which Robert sees a child with his condition and considers his potential fatherhood. But the rest is just too overwrought to be taken seriously when its not just another crazed murderer story. Perhaps it should have gone more into science fiction to give the narrative more depth. On the other hand maybe this is enough without a total re-write that tries to maintain any sense of mystery.
3/5
On the other hand perhaps there's such a thing as too much mystery? Maybe substance over style isn't my cup of tea after all. The Strange Vice of Mrs. Wardh (1971) is exactly what you'd imagine if someone asked you to think of a trashy Italian movie about sex and violence. But it's also strangely cold, clinical and plodding. Where's the style of Mario Bava when you need it? Without it this is just another movie about black gloves and razor blades. Which you know, I have time for. But overall this never comes together to stand out from the crowd. Maybe it's just because it spends too much time with love triangles instead of using any procedural elements.
The eponymous vice is at least an interesting hook as Julie (Edwige Fenech) has various dreams of her past life. She's trying to make things work with a conservative husband after escaping an abusive relationship. But she can't stop thinking about masochism and wild nights in the forest. But the rest of the film is just a series of bland romantic escapades in which she avoids having affairs with one previous lover while falling for a new one. Considering the potential for such a feisty lead with a repressed fetish Julie comes across as strangely weak willed. Which isn't helped when it becomes clear she's the hapless object of a conspiracy instead of the hero.
Even the typical production design panache of a thriller like this isn't used often, and instead there's just a lot of drab 1970s decor. Julie's apartment is pretty nifty and her eventual escape to Spain offers some visual flair along the way, but it's not quite enough. The eventual twists, turns and secondary reveals in the story just come off as oddly convoluted instead of shocking. Sure it has a lot of sleaze and a slew of cut arteries, but there's not enough intrigue and it needs way more personality. But maybe that's just some of my own personal addictions coming through...
2/5
