Bubi

With the first ones, such as: The Bird with the Crystal Plumage, Four Flies on Grey Velvet, The Cat o' Nine Tails... and also Deep Red, there are numerous connections; those can be defined as gialli. From Suspiria onwards, as I’ve already mentioned, he entered the second phase, the hallucinatory and paranormal one. With those, the films I mentioned have nothing to do with it, and anyway, the few that I watched after Suspiria don’t appeal to me; they simply don’t fit my target.

... the votes... hello therealramona

Even if on very different levels, with Charlie Parker, the most genius jazz musician of the post-war period.

Great Rino Gaetano.

I forgot to mention that (as far as I remember) he was able to create a beautiful nightmare atmosphere, and that Argento was much better at this than in story construction. And what about the rest? I mean the other films prior to this one, Profondo Rosso, and the later ones, like La Sindrome di Sthendal... a master of slasher suspense... an enormous number of murders, all because they discovered who the killer was, how the killer knew it, and how they managed to be in the right place at the right time—he doesn't explain that. In Profondo Rosso, in the end, it turns out that the murderer is an old lady who dies in a stomach-churning way... do you not even agree on this?

You are right, it was private.

Thank you.

Come on, come on... Fidia, share your opinion, you who are always among the first to wake up. You owe it to me for the personalistic usage you've made of the review of Blade Runner. Which politician does the word Personalistico remind you of?

To me, Argento is the master of butcher shop suspense; the stories of his films are trivial (I’m not talking about Suspiria, which I barely remember). Here we are already in the second phase, the hallucinatory and paranormal one, of the films I recall. There are a huge number of murders, all because they discovered who the killer was, how the killer knew it, and how he finds himself in the right place at the right time—none of this is explained. In Profondo rosso, it turns out that the killer is an old lady who dies in a stomach-churning way. No, it's not his style, the mystery that I like. Two lines below, coincidentally, my review of La Finestra sul Cortile was published. You might have something to say about the review, but as for the film... not to always quote Hitchcock, I recommend watching Delitto in pieno sole, Ascensore per il patibolo, A sangue freddo (the first), L'infernale Quinlan, La vedova nera, L.A. Confidential, Il postino suona sempre due volte, Misery... crime-related films are my favorites, which is why I am very demanding when I watch one. I’m sorry to say it, but even the review is too long for my tastes.

It's a bit long, I like Ocasek but I don't know the album. 5 for encouragement, since it's your first time writing on DeBaser.