[5 September 2007]
PopMatters Contributing Editor
For fright fans, Dario Argento’s career as a movie macabre master started going downhill right after the release of his spectacle splattefest Opera. With the advent of videotape, and the steady release of his past efforts onto the format, a whole new audience was appreciating his work, and Hollywood was starting to take notice. Invited to America to continue his career, he made the interesting anthology entry based on the work of Edgar Allan Poe, Two Evil Eyes, and helmed a US based thriller entitled Trauma. Neither film was a hit, and Argento was angered by issues of studio interference and MPAA censorship. He had been burned back in the ‘70s when companies such as Paramount and Fox decided to distribute truncated versions of classics like Suspiria. Now, he needed a project to propel him back into the good graces of his always agreeable European constituency – and a book by psychiatrist Graziella Magherini seemed to hold the answer.
Dealing with a subject described as “art enchantment” - a surreal fugue state where individuals feel emotionally overwhelmed and personally connected to paintings, sculptures, and other aesthetic works – this ‘Stendhal Syndrome’ seemed to be the perfect idea for a film. Of course, it would take some tricky special effects to realize his goal, and Argento needed an actress he could trust to take on the grueling, slightly gratuitous lead. He envisioned a woman who was young enough to play the ingénue, sturdy enough to pass for a cop, and complex enough to handle the several personality changes that occurred throughout. Even worse, this performer would have to lay herself bare during a trio of tawdry rape scenes. With an air of oddness that only Freud could successfully decipher, Argento flummoxed convention and hired his 21 year old daughter Asia. Long a fixture in the film world, this would be her most demanding role to date.
And thus cameras rolled on the icon’s big creepshow comeback, a psychological thriller that took both parts of that label all too seriously. A strange combination of police procedural (Asia is Anna Manni, a policewoman on the trail of a serial rapist), character study (after suffering at the hands of her subject, Anna starts to slowly unravel), and exercise in exploitation (women are brutalized and butchered by this maniacal blond sadist), the results divided even the most ardent aficionados. Some saw it as a return to past glories. Others argued that, while decent, it forewarned of worse things to come. Indeed, in the next decade, Argento would release four more career confusing efforts – his overdone and sexualized Phantom of the Opera take, a good giallo called I Can’t Sleep, the static CSI statement The Card Player, and a weird homage to a long time idol entitled Do You Like Hitchcock? So oddly enough, The Standhal Syndrome appears as his last legitimate offering, a movie mythologized all the more by its odd home video treatment.
Somehow, Troma got a hold of this film, and released it way back near the beginning of DVD. The 1996 package was pretty good, containing a commentary by the director, an interview with the filmmaker, and lots of company come-ons. Fans frothed however, citing the fair to middling transfer and the overall lack of respect offered by the infamous B-movie factory. Over the last 11 years, they’ve hoped that a company like Blue Underground would salvage this forgotten film and bring it back to the state of semi-respectability it so richly (?) deserved. Well, now those prayers have been answered. The Big Blue U has indeed stepped up and delivered a brand new two disc digital package (available 25 September) that illustrates the best that the medium has to offer, while questioning the extent to which businesses will invest in context for the fans.
If the film had been more endemic of Argento’s lush, luminous style, the lack of format support would be unconscionable. But Stendhal stands as a decidedly different effort for the director, a movie made up of particular movements, each one attempting to address a different aspect of a woman’s destructive descent into madness. Viewed in parts, we see the suggestion that rape reduces a female to a series of onerous questions. There is doubt of self, doubt of sexuality, and doubt of safety. All three of these misgivings are illustrated here, as daughter Asia goes from confident cop to psychological mess in the span of two event filled hours. The transformation is both physical and mental. At first, Anna Manni is a long haired brunette, a capable officer working a high profile case. Post attack, she cuts off her overflowing locks and takes on a more tom boyish persona. Finally, after a terrifying confrontation in a water main, our heroine becomes a femme fatale, long blond wig providing a post-modern noir nod.
Within each section, Argento hints at the horrors going on in Anna’s head. Initially, everything revolves around the title issue. The use of then new CGI to realize the symptoms of the syndrome is unique and, though dated, gives the visuals an excellent otherworldly quality. Asia also does a good job of expressing the emotional distress that surrounds the problem. When she swoons over a classical canvas, we believe the delirium. She is also a brave actress, allowing herself to be very vulnerable and physically ‘open’ during the rape scenes. Actor Thomas Kretschmann (who would later rise to notoriety in big budget films like Blade II and Peter Jackson’s King Kong) is an amazing villain – the kind of debonair demon that you can easily see as a smooth talking psychopath. The interaction with his victims is noxious, and he really helps establish the lasting effects of his horrific crimes.
The second phase takes us through a denial of femininity, as Asia goes guy to try and hide her pain. This is a very interesting segment, one where Argento pulls back on the dread to deliver some drama and dark humor. When a previous paramour makes a pass at Anna, she responds with belligerence and foul-mouthed dominance. Equally, when boxing with an old male friend as part of a workout, her love of physical brutality is obvious. All throughout the first two acts, we sense a rematch with out rapist, and long for the moment of mandatory cinematic comeuppance. As a director, Argento toys with us, leaving us guessing right until the very end as to how this confrontation will play out. Even after it’s over, we still wonder if there’s not more to the story. As with most works by the Italian maestro, a climatic moment usually triggers another tangential terror.
Which brings us to the third phase in Anna’s story. Feeling slightly more empowered, and working through the leftover trauma with her specious therapist (a real red herring if ever there was one), we see an attempted reclamation of her beauty and allure. The long headdress is initially shocking, since it tends to hide most of Anna (and Asia’s) inviting ethnicity. This is crucial in understanding where the character is headed. The color of the wig, the newfound lust and desire, the overwhelming possessiveness – all of these facets are supposed to provide subtle insight into the shifts our lead is experiencing. Since he’s a master of pacing and paradigm, Argento lets issues lie, creating tension by building on both expectation and the unanticipated. Even after the denouement, when we learn just what’s been going on in Anna’s head, our director is not done. We watch as our fractured female is swept up in a sea of men, the patriarchy once again arguing for its role as protector and provider of the species.
As a result, it’s hard to call The Stendhal Syndrome “horror”, though it definitely deals in dreadful things. This is more like a literal psychological thriller, a film that rises and falls by the sinister and sick psyche of its characters. As it moves from element to element, as it references Argento heroes (there’s a lot of Hitchcock here) and establishes its own inherent greatness, we sense the struggle inside the director. For over three decades, he was viewed as a fantasist and fabulist, someone placing the surreal inside the scary to create a kind of dream theater of nightmare novelty. But Argento got his start making standard crime films, giallos that mimicked the mean-spirited narratives of the yellow covered pulp novels the genre took its name – and inspiration - from. To be pigeonholed because of his rare artistic flourishes was unfair, and yet all throughout this film, such flashes also appear. The contradiction would soon cause his canon to crash.
Oddly enough, the DVD doesn’t go into a lot of perspective or overview. Instead, Argento appears and discusses the production – including how uncomfortable he was directing daughter Asia. The author of the book which inspired the director – psychological consultant Graziella Magherini - explains the Stendhal Syndrome while F/X guru Sergio Stivaletti talks about the confusing world of computers. We also hear from AD Luigi Cozzi and production designer Massimo Antonello Geleng. Their anecdotal insights help us understand how hard it is for Argento to complete a project. Apparently, forces both normal and unexplainable are against him. As for the long debated technical aspects of this release, this latest DVD image is outstanding. It carries over the filmmaker’s original vision, and is presented ‘uncut and uncensored’. The clarity is amazing, and the comparison to the previous Troma release is clearly night and day. Shadowy scenes from before are now rendered in bright, anamorphic beauty.
Still, it’s hard to fully fathom where The Stendhal Syndrome resides inside Dario Argento’s reputation. Many will marvel at the avant-garde aspects of this feature and wonder why the director ditched them for a hoary old period piece (Phantom) the next time out. Some will see it as a misogynistic mess, a film that forces females into the role of subservient sickos who can’t suppress their inner whore long enough to avoid the suffering. Gore fiends will enjoy the novel kills, including the slo-mo bullet time, and Argento’s directorial flourishes still mandate attention, even within this far more realistic setting. Either as signature or stumble, art or atrocity, there is no denying that as a filmmaker, the man responsible for bringing Italian terror to the mainstream remains an important cinematic fixture. Thanks to the efforts of Blue Underground, his legacy will remain intact, if not necessarily indestructible.