Pietro Minchiadura

Hello everyone and hello to you, Enrybaxx. I disassociate myself from all these jokers, from that polygamist Psychopompe, from his concubine Kosmogabri, and from all those drugged children they have given birth to, among other things, in sin. I’m 14 years old, I come from Mestre, and I take novalgina.

I didn't understand anything! Here!

Cat Power masterpiece!

Ah, that great pussy!

It is indeed a thriller film. In short, your point of view is understandable: you have a rationalistic approach to the film. My defense is: "it's Argento," which is a tautological and silly justification, but not without its foundation. Our director's films have always sacrificed the rational aspect for details like the brutality of the crime, the attention to the imaginative setup with shrimp and congers. Take "Inferno" (which is actually a horror) and form your own idea: rationality gets completely disregarded 1000 times more than this one, but it's not really such a terrible thing for that reason. I do not understand or agree with phrases like this: "The murder of Norton in American History X is scarier on its own than all of Deep Red, including the special features." Well, aside from the fact that it doesn’t seem very sensible to compare scenes from films based on how much fear they provoke, I argue that the murders in PR aren’t particularly frightening, and that’s not even Argento’s intention. The fear in question is created in moments of stillness, in the sequences where the murderer is foreshadowed, in the musical crescendos: definitely not in the murders themselves. I find the anxiety and unease of the scene just before the murder in the bathtub quite impactful: the warning of the murderer, and the anguishing restlessness that follows. That’s where the fear lies: after all, the murder is simply a catharsis. Thus, I don’t think this perspective is correct. That said, perhaps American History X has its merits (a film I haven't seen); anyway, I also remember that Calamai wasn’t that old. Exaggerated.

And the 4 flies, goodness! Well, yes, but from Suspiria it’s just visionary genius, Argento loses a bit of the dimensions of the screenplay and the plot, dedicating himself to a bloody horror of rather challenging tastes. I prefer the thriller section of the '70s.

On the soundtrack, the sardignolo is right, and I decide to give a score of 5 precisely for the indissoluble unicum between film and score. School at Night, I was thinking about it just while reading the review, has, when listened to alone, a complete lack of charm. It's true: there are few soundtracks that have remained in the annals in and of themselves, detached from the films. We talked on De-B about "The Piano," for instance, then "The Mission," "Apocalypse des Animaux" are other examples.

In my opinion, one of the undisputed masterpieces of Italian cinema and beyond. Often downplayed by critics who see in this, as in many other films by Argento, merely a good product. I find it exceptional for its virtuoso use of the camera, the conscious use of certain chilling objects from the '70s, the hypnotic chasm of the killer's eye, the nocturnal abyss of an occult Turin. Argento has shown, at least for this, for L’Uccello dalle piume di cristallo, and for Il gatto a nove code, an immense talent, later contradicted by certain indulgences in the carnage of the '80s (Inferno, Tenebre) and by the tired TV movies of recent years. It is precisely in one of these last films that Turin returns, the Goblin return, Lavia returns, and for a moment it seems like Profondo Rosso comes back to life: the weary "Nonhosonno," of negligible importance. This film remains the one that I probably find the hardest to rewatch today.

Given my low regard for Lost, I support the Fantò! The syllogism is: if it hadn't been called coppola, this big coppola that stepped up as a director. BEAUTIFUL RIGAZ

To the folks on Forcella Street I say: what a light and easy listen. Check out that heart-stopping piece called "Zodiaco" by Juri in Arcano Enigma: it devours all the electronic avant-gardes of the last 20 years. Crazy.