Like Stendhal Syndrome, this one surprised me. The overwhelming consensus is that Dario Argento’s latter day work is universally abysmal, and after Phantom of the Opera, which is unequivocally one of the worst movies I have ever seen, I had little hope for what lay ahead. Unlike Syndrome, however, this is one that I can recommend without the same kind of reservations about problematic sexpolitik that permeated that film. Non ho sonno (Sleepless) was released in 2001; this is the inaugural Argento giallo of the 21st Century, but its success lies in the way that it revisits the director’s standard bag of tricks, reinventing some while playing others straight.
After the surprising international success of Suspiria, Twentieth Century Fox offered to help co-fund Argento’s next project, a sequel of sorts to that film titled Inferno. The conceit of Inferno (and, later, Mother of Tears) is that Helena Markos, aka Mater Suspiriorum (“The Mother of Sighs”), the villian of Suspiria, was only one of a trinity of powerful witches. According to the supporting materials, these witches use their great power to manipulate events “on a global scale.” I place those words in quotation marks because, although they appear frequently in the Argento apocrypha, neither of these stories feels global; Suspiria was a relatively confined story, as most haunted house plots are, and Inferno, despite featuring a narrative that takes place in both New York and Rome, also fails to feel like it takes place on a significantly larger scale. This isn’t meant to disparage either film, necessarily, but it does imply that Argento was shooting for something here that he doesn’t quite pull off.
Released in 1975, Profondo rosso (Deep Red) is considered by many to be not only Dario Argento’s greatest work, but also the highest example of the giallo form. Although I still think that Suspiria is probably a superior film, and Phenomena is my personal favorite, it’s not hard to see why Deep Red was the recipient of such wide international critical acclaim (including being the first of Argento’s films to garner an audience in Asia, especially Japan), or why that popularity is so enduring, even forty years later.