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FOUR FLIES ON GREY VELVET

Well, it took forever but we finally have a legitimate US release of Dario Argento's "lost" giallo, FOUR FLIES ON GREY VELVET. While marketed as "fully uncut", this doesn't seem to be the case. A quick comparison with an imported, English-subbed - and completely shit-looking - VHS copy of mine shows the DVD missing close to 35 seconds of, to be honest, completely unnecessary dialogue and transitions. No matter, though. The core of the film is intact and looks wonderful on the new Mya Communication release and that's really all that matters. Unfortunately, FOUR FLIES ON GREY VELVET is an utter disappointment in many regards - something I already knew for quite some time - but those people craving to fill the gaps in their Argento collection won't mind a bit.

Strangely, the film's first act is it's strongest. Beginning with an energetic and enigmatic credit sequence, we soon jump straight into the story at hand. Roberto, a drummer in a rock band, is being followed by a mysterious man. Unable to handle it any longer, Roberto chases his stalker into an abandoned theater and, during their confrontation, accidentally stabs the man to death with his own knife. At that very moment, a balcony light clicks on revealing a masked figure. The masked figure is holding a camera, snapping pictures of Roberto holding the bloody knife. The masked figure vanishes and Roberto returns home to his wife, eventually spilling the beans to her about his criminal act. Soon, Roberto is being sent photographs of himself at the crime scene. He's eventually finding them everywhere, even in his own house. When his live-in maid figures the whole thing out and decides to demand money from the stranger, she is murdered. The murder prompts Roberto to seek the help of his two hobo friends - one of whom is named God, a character lifted from Brown's novel The Screaming Mimi, also the source material for Argento's debut film, THE BIRD WITH THE CRYSTAL PLUMAGE - and to hire a private detective. But when both the private detective and Roberto's lover are murdered, Roberto decides to set a trap for the killer using himself as bait.

FOUR FLIES ON GREY VELVET is one of Argento's most visually interesting films, made at a point in time when Argento was seriously considering ditching the giallo all together. As a last hurrah, Argento decided to throw in every trick he had and experiment as much as possible. The result is a film which contains unexpected camera movements, strange and oblique camera angles, and some of the strongest compositions of Argento's career. The title sequence alone is a terrific piece of film. But, unfortunately, the script just isn't there. It's too comedic at times - the numerous encounters with a bumbling mailman might be amusing but they feel distinctly out of place - and feels strangely safe. It's unusual for an Argento film to feel this passive. None of the suspense from THE BIRD WITH THE CRYSTAL PLUMAGE or THE CAT O'NINE TAILS exists in FOUR FLIES ON GREY VELVET. The whole film is routine in it's attempts at tension.

It does, however, carry over one aspect from THE CAT O'NINE TAILS that should have been left out and that's the ridiculous pseudo-science angle. The idea that the retina retains the last image it sees at the moment of death - an image that can be projected onto a wall using a laser - is incredibly stupid. That it leads to one of the worst final reveals in Argento's filmography seems appropriate. Not only does the identity of the killer make no sense, the reason behind the killer's reign of terror is not only poorly thought out but also incredibly tough to swallow. While suspension of disbelief is a necessary element in the majority of gialli - some require you to shut off your brain completely - the final reveal of FOUR FLIES IN GREY VELVET drags the whole film down.

What's most impressive about FOUR FLIES ON GREY VELVET is it's acting performances, which are rather strong and memorable. While not the most talented group of actors, Michael Brandon, Mimsy Farmer, Francine Racette and Bud Spencer all occupy their roles well and create a group of likable characters that help carry the film. The stand-out performance, however, is that of Jean-Pierre Marielle, here playing Arrosio, the private detective. It was Marielle's idea to play Arrosio as a gay man and although the role does adhere to the unfortunate Italian practice of portraying gay men as effeminate and perverse, Marielle's performance adds a layer of subtle humor - instead of the tired slapstick of the aforementioned mail man scenes - and tragedy to the film.

Ultimately, FOUR FLIES ON GREY VELVET is much ado about nothing much. It's not a terrible film but only showcases Argento's directorial skills well. Those looking for a strong, convincing mystery will have to look elsewhere.