Berlin: A movie like this isn’t meant to stretch the heart; it means to cut them off.
Ten years after starring in a vampire movie lifeless in the wrong ways and just seven months after making an unlikely return as an actor for Gaspar Noé, Dario Argento went back behind the camera, back to the genre that made him famous and back with Berlin International Film Festival with “Sunglasses” If it’s too short, you have to give it points for trying.
Shot after the 81-year-old filmmaker completed “Vortex,” Argento’s latest directorial debut is, in a way, a response to his rather dismal acting debut. grandfather. If the last time one saw the Argento actor literally disappearing from the screen, director Argento would have made his sequel a completely curt response, as if to say: ” I’m not gone yet!”
The filmmaker takes no time to set up the scene; as actress Ilenia Pastorelli (“They call me Jeeg”) plunges into the opening shot, her sharp features are emphasized, her lips painted in incandescent red, and her blouse With it almost unfurled, the “Dark Glasses” make up the perfect schlock for its sale. Why shouldn’t? We don’t have all the time in the world here, and Diana of Pastorelli is a high-priced call girl who always has customers coming to see her. And so, when she arrived at a luxury hotel in Rome one night to find a coworker wrapped up and bleeding on the ground, Diana simply passed by. After all, a john is waiting inside.
Argento’s camera doesn’t work for another beat, ensuring the budget for special makeup, prosthetics and animation (given two titles in the opening) is fully utilized. When we catch up with Diana shortly after, this call girl also takes aim at the killer, resulting in a brief but effective tricycle crash that leaves the killer uninjured, whose lead is now blind because her wound and that of a young Chinese bystander, Chin (Xinyu Zhang), an orphan.
Running almost too long at only ninety minutes, “Black Glass” packs most of the thrills into the first and third act, both set at night. The film lulls for its intermediate action, which takes place entirely in broad daylight – that doesn’t matter to Diana, who must now adapt to her life behind splashes of color.
Helping her is Rita (Asia Argento of course), a benevolent social worker who got Diana a sighted dog and conveniently ignores the fact that Chin has run away from the orphanage. her to stay with the blind woman. To the extent that a genre exercise that’s more concerned with the base than throats and exposed cleavage wants to target the heart, “Dark Glasses” really gives the old college a push, allowing Diana and Chin’s relationship developed in such a way that it almost touched a few perfunctory notes before the giallo requests once again asserted their primacy.
Of course, a movie like this isn’t meant to stretch the heart; it means to cut them off. So early enough for the psychotic killer to put on his ugly head and we’re back, starting a series of murders and chases on foot, by car, and through a swamp full of snake. Like a steady hand holding a straight razor, Argento cut through the conversation with clean strokes. “Dark Glass” has very little room to rotate and rotate; it doesn’t raise its sleeves and ask the viewer more than sitting still and enjoying the ride.
But in replacing the more baroque orchestras of Argento’s earlier work with something more direct and direct, this particular ride never reaches the same heights, never causes the blood to flow in the same direction. exactly the same way. That this elderly Argento probably neither had the time nor inclination for Grand Guignol sets in his Halcyon days should come as little surprise; though his flame is still burning and the taste of blood is strong, the film he delivers is not a return form as something entirely different.
If anything, “Dark Glasses” is like a heritage giallo, a calculated rebuke to that famous line from “Chinatown.” Dario Argento has made his mark on film history, being honored at the world’s top film festival, and still has plenty of urine and vinegar to give away. He’s been around long enough, damn it, but unlike politicians and ugly buildings, he doesn’t need to be respected.
“Dark Glasses” premiered at the 2022 Berlin International Film Festival.
https://www.indiewire.com/2022/02/dark-glasses-review-dario-argento-1234698860/ Review ‘Dark Glasses’: Spiky Little Giallo by Dario Argento