Movie Review: Tenebrae (1982)
Synopsis
"Tenebrae," directed by Dario Argento, is a chilling giallo film that weaves a complex narrative involving murder, psychological manipulation, and the art of storytelling. The film centres around Peter Neal, a successful American author played by the charismatic Anthony Franciosa, who travels to Rome to promote his latest novel, also titled "Tenebrae." However, upon his arrival, a series of brutal murders begin to occur that seem to be directly inspired by the content of his book.
As the murders unfold, each victim is killed in a manner reminiscent of the fictional crimes depicted in Neal’s writing, which raises eyebrows and suspicion around the author. The plot thickens as Neal, alongside local police officer Detective Germani (played by Gabriele Lavia), delves deeper into the mystery, grappling with the tension between his creative work and the heinous acts being committed in its name. The inscrutable nature of the killer unfolds, revealing a web of psychological twists and character motivations that complicate the narrative.
As the chilling events progress, Neal’s relationships with various characters—including his publicist, his overzealous fans, and the people he meets in his glamorous yet eerie Roman surroundings—become strained. The film highlights themes of censorship, voyeurism, and the thin line between innocence and guilt. The viewers are taken through a rollercoaster of suspense, culminating in a shocking and gruesome climax that forces the audience to question the nature of violence, both in literature and in real life.
List of Actors and Their Characters
- Anthony Franciosa as Peter Neal
- Gabriele Lavia as Inspector Germani
- John Saxon as Paul
- Daria Nicolodi as Anne, Peter’s assistant
- Christian Basso as the young boy
- Giuliano Gemma as the mannequin (mentioned character)
- Miranda Garrison as the girl in the apartment building
- Aldo Reggiani as the bookstore owner
- Clara Colosimo as the journalist
- Lia Tanzi as the actress
Review
Dario Argento’s "Tenebrae" stands as a paradigmatic example of the giallo genre, combining artistry with extreme horror and sparking engaging discussions about the relationship between an artist’s work and the violence it evokes. The film gleefully indulges in the conventions of horror cinema, paired with an array of stylistic flourishes and a relentless score by Goblin—a hallmark of Argento’s past films that one expects and appreciates in any of his work.
The cinematography in "Tenebrae" is nothing short of exquisite. The camera movements are deliberate, creating a sense of tension and impending doom. Argento utilises sharp angles and fluid pans to mirror the emotional turmoil and chaos that envelops Peter Neal. The play of light and shadow not only reflects the film’s title—meaning ‘shadows’ in Latin—but also echoes the underlying themes of duality and perception. These elements work collectively to create a visually arresting experience that keeps viewers mesmerised.
The film’s murders—gruesome, artistic, and shocking—serve as commentaries on societal views toward violence, particularly how it is perceived through the lens of media and literature. Each death carries a symbolic weight, forging connections to the voyeuristic impulses that many characters and audiences hold. Argento pushes boundaries by foregrounding this violence, asking viewers to question their reactions to sensationalism and the nature of fiction within their reality.
Anthony Franciosa delivers a performance imbued with a sense of weariness that contrasts starkly with the brutality that unfolds around him. As Peter Neal, the author grapples with a gnawing moral dilemma as he becomes more embroiled in the investigation. Gabriele Lavia’s portrayal of Inspector Germani is equally notable; he brings a diligent yet flawed perspective that adds depth to the character. Their dynamic serves as an anchor in what could otherwise be a labyrinthian plot, allowing the audience to remain grounded amidst the chaos.
The film’s soundtrack, composed by the progressive rock band Goblin, deserves special mention. The haunting melodies punctuate each scene with a frenetic energy that heightens the tension and imbues the narrative with an atmospheric dread. The musical choices blend harmoniously with the visual elements, ensuring that viewers find themselves fully immersed in the unsettling world that Argento has crafted.
However, despite "Tenebrae’s" merits, it is not without its flaws. The film’s convoluted plot occasionally hampers the pacing, particularly toward the middle, where exposition threatens to stall the forward momentum of the narrative. The character development, while interesting, sometimes leaves viewers yearning for greater depth. Furthermore, the film’s overt sexualisation and misanthropy can be off-putting for contemporary audiences—provoking questions about Argento’s portrayal of women—who often appear as victims or are objectified through the male gaze.
Visually arresting yet morally ambiguous, "Tenebrae" operates on multiple levels, thus making it a potent entry in Argento’s filmography. The dialogue is not particularly grand, but rather utilitarian, reflecting the characters’ urgent need to dissect the chaos surrounding them. This strategic choice heightens the film’s overall tension as it builds towards the climactic reveal of the murderer, culminating in a conclusion that audaciously intertwines the threads of fiction and reality.
In conclusion, "Tenebrae" is an essential exploration of the giallo genre that exemplifies Dario Argento’s distinctive style. It challenges viewers with its provocative themes while delivering a compelling narrative that is both visually stunning and sonically powerful. The performances are solid, the cinematography is striking, and the direction is quintessentially Argento. While it may not be for everyone, particularly those averse to graphic violence and moral ambiguity, "Tenebrae" remains a significant piece of cinema that continues to influence the world of horror.
Score: 8/10
Its brilliance lies in its capacity to simultaneously thrill and provoke, keeping it entrenched in the discussions that pervade the film community long after the credits have rolled.