vellutogrigio

I watched it again last night; now, I don't want to exaggerate, but it's probably the best film ever conceived in our country (story and screenplay), featuring a remarkable performance by Volontè, excessive and overflowing just enough to distort this film into the grotesque (although I suspect that the atmosphere of the police headquarters at the time wasn't too different, at least among the high-ranking officials - for the officers like Pannunzio, what Pasolini said after Valle Giulia always holds true).

oops... 2 and a half for Ornella Muti (as a woman and actress).

At the time, it had heavily bored me, but the ending was shocking, not only symbolically. I wouldn’t want to start yet another controversy about Ornella Muti, but: not only a terrible actress, but also a terrible physique – have you ever noticed her ANKLES? From that era, Eleonora Giorgi was much better.

@francescobus: exactly, let's say I was trained on that encyclopedia, the one with the title hard rock stylized in stone and heavy metal in metal, with the long-haired guitarist on top. Bought it in 1993.

catch, catch

Sorry supersoul, but in respecting your thesis, it doesn't seem to me that I've trivialized the film, on the contrary.

it's really true that nobody knows him, then

@giubbo and other Venetians: the debate about the region and its inhabitants is very interesting. For personal and professional reasons, I know it in almost all its aspects, and I must say, briefly and hoping not to touch too many stereotypes, that the diversity of the Venice-Padua axis is obvious compared to other environments: Venice truly has a history of its own, Padua has always benefited from the osmosis with other populations, thanks to the University, bringing with it a "metropolitan" vocation that makes it similar to centers like Bologna and Milan, more than to other Venetian cities. Very similar are the nearby Vicenza and Verona: both sleepy and, in my opinion, both influenced by a massive historical impact from the Church (even for better, come on). The Vicentines are more reserved (a bit like ants), while the Veronese are more boisterous (a bit like cicadas). I have always pondered about Verona: in fact, it is the largest city in Veneto, but when I visit, it feels like a small town; no one in Italy is as parochial and attached to their small world as the Veronese: this explains the Tosi case and, all in all, the city's limited cultural development (even though the Maffei is the oldest high school in Italy). The University of Verona may be too influenced by the power of the Banks and the Catholic nomenclatures behind it to develop as a cultural center. Lastly, some notes on Treviso: it is the true Venetian countryside, the Texas of Italy, having disproportionately enriched itself compared to the cultural increase.

@mopaga: did you understand who the killer was

You’re not entirely wrong. I have been following Argento for years, and the limits you point out have always been there, at least since the mid-'80s. "Trauma" is no different in this regard from his other films. However, I believe that the animal trilogy, along with "Profondo Rosso" and "Tenebre," deserves more attention than what critics usually give it. These are, of course, opinions. In any case, Argento’s cinema remains quite "popular," in the sense that it aims to frighten the "people," often free from intellectual pretensions, although if you dig beneath the surface—like David Hemmings does in the abandoned house of "Profondo Rosso"—you can find something interesting, indeed (at least in my opinion, if you read my old reviews on Argento). Bye.