Dario Argento’s Four Flies on Grey Velvet Review
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After suffering for so long with fuzzy VHS bootlegs, I was very mighty looking forward to this release. It’s certainly the best the film has ever looked but after going through every single scene and comparing it to the modern RetroFilm DVD, I found that there are three scenes with missing footage totaling :40. These occur during scene transitions and include dialogue. Also, the urge of the audio seems slowed down. If you listen to Mimsy and Michael, their voices are arrangement too deep compared to previous versions or films. It sounds like they rushed this release once they got the weird rights instead of getting it perfect. That is too poor. This could have been the one. It is not. I gave it 3 stars for the portray quality alone.
First, a word of caution - if you haven’t already seen the film you’d do well to avoid Amazon’s image gallery as it rather gives the game away.
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As with the previous two entries in the unofficial Animal Trilogy, Four Flies on Grey Velvet is short on explicit gore but brimming with atmosphere and artistic ingenuity, with set-piece murders primed and mined for maximum tension. It was with this film that Argento began to cement his particular style and is something of a crucible for future ideas. The kill of Roberto’s maid in a local park foreshadows John Saxon’s fate in Tenebre, and with its sudden lapses in time and attempted hasten through the cobwebbed status between two buildings (to a soundtrack of whispers and sighs) it also sows seeds that would flourish in Suspiria. Other visual motifs (crimson curtains, obscene close-ups, inanimate objects suddenly wielded by a seemingly maniacal camera) would be repeated or re-jigged in Deep Red, Phenomena and Opera.
Argento’s modern map was to have a joyful protagonist and though the character of Roberto is detached begin to such a reading - his victimisation being as a result of a dismay of being outed (as a murderer) has definite correlations (tag also Brandon’s shaggy mane v Farmer’s gamine reduce or the rather tame bathtub scene with Francine Racette which sees Roberto playfully seducing his mirror image) - the more overt references are passed to Jean-Pierre Marielle who brings grand likeability to a microscopic role as the PI hired by Roberto, and whose swish factor is tempered by a steely determination to finally cracking a case. A cool Farmer acquits herself well, though Brandon is merely okay. Argento’s fascination with irregular science (here ludicrous by originate but ingenious in execution) gives the film its animal-themed title, and the finale boasts one of his greatest sequences - a attractive, slow-motion shot of a car impacting with the befriend of a lorry, which marries chillingly resplendent aesthetics to Hollywood folklore, scored with Morricone’s haunting “Arrive un Madrigale”.
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Having spent nearly 40 years in bootleg hell the recount quality in this release is a revelation, as has been illustrious, however, the English audio is problematic, there are no English subtitles included for the stout Italian audio and there are minor cuts to transitions between scenes which are occasionally jarring. How noteworthy of a nuisance all this proves comes down to personal taste, but chuck in a couple of positive fair errors on the sleeve blurb and sadly it amounts to a rather sloppy rush-release from MYA, whose claims of “fully uncut and with an fabulous recount and sound quality” are at best over-zealous.
Four Flies is a solid giallo and an essential entry in the Director’s canon which bears repeated viewing, blurring gender roles and sexual identity, adding subtext and hit and miss humour, asylum flashbacks, well-executed deaths and a recurring nightmare in the originate of a sun-bleached, public beheading - the significance of which turns out to be twofold. It also has in spades what a suited Argento giallo conveys like no other, that chilling feeling of something wholly alien on the loose in human beget.
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