As the 70’s came
to an end, so it seemed that the era of the giallo was dying off from the international scene; maybe
because of producers eagerness to cash on what Argento had started by in the
early 70’s it brought about a quick saturation in the market of gialli, this rapid production of trying
to replicate the international financial success from the previous films might
have created a rather over exposure to an audience that became just too much
and the audience for this had grown tired of the style of the giallo and found the rise of the
Slasher films from American to cure the itch for exploitive violence and sex
demand of what was the drive-in/grindhouse market.
While a few giallo films
were made in the 1980s, mostly by Dario Argento himself (Tene-bre, Phenomena,
and Opera), only Lamberto Bava,
Mario Bava’s son, was re-ally making gialli anymore,
with two films, A Blade in the Dark (1983)
and Delirium: Photos of Gioia (Le Foto di Gioia) (1987). Beyond the
1990s and into the new century, Dario Argento is still producing giallo films: Trauma (1993), The Stendhal Syndrome (1996), Sleepless (2001), The Card Player (Il Cartaio) (2004), and Do You Like Hitchcock? (Ti piace Hitchcock?) (2005). (Koven,
2006 p170)
Here Koven is
stating that the giallo had
already started it’s decline in the 1980s with only a select few directors
still releasing the traditional giallo and
beyond this into the 1990s and further it was really only Dario Argento who was
able to direct giallo in
the modern day; this is really only possible because of instantly
internationally recognizable name that he has created for himself and a gaining
a certain cult following over the years from his strong body of previous
titles.
Sporadically, other filmmakers try to produce these
old-fashioned-style thriller, with varying degrees of success, either in Italy or
beyond. The best of the contemporary gialli,
Occhi di cristallo (Eros Puglielli,
2004), which I was lucky enough to catch at Edinburgh’s “Dead by Dawn” film
festival in 2005, while available on DVD in Italian, does not offer English
subtitles or an Eng-lish soundtrack. It seems that with the exception of new
films by interna-tionally recognized masters of the genre, such as Argento,
these thrillers seem to be made exclusively for the local, vernacular
audiences. And maybe that is as it should be. (Koven, 2006 p170)
Koven seems to
be taking the view that while the giallo is
still being made to this day, it has become on a much smaller scale and back to
the vernacular, where it’s true roots lie. It would seem that he is implying
that the giallo has no real
significance to an international audience and that it should solely remain in
the Italian third-run theatres.
While for a
while it might seem that the giallo would
just slip away into the memory of cult horror fans; in 2009 a French/Belgium
co-production film Amer (2009)
came out that paid homage to the giallo genre
and in particular it’s three most famous directors; Mario Bava, Dario Argento and
Lucio Fulci. The film itself recognized that the gialli narrative wasn’t that well structured and that the dialogue
played second fiddle to the visual experience; with this Amer (2009) almost consists of no
dialogue.
Clip 5. Amer (dir Cattet and Forzani, 2009)
In this clip of Amer (2009) we can see that it
makes such wonderful use of colours and is very reminiscent of Dario Argento’s
work and especially Inferno (1980)
in the underwater scene that I talked about in Chapter 5; the combination of
the bold uses of red, blue and green are so boldly used to create a very
atmospheric scene, and with the uses of such a variety of colours the film is
able to express the feeling of fear, mystery and the supernatural to the
audience through colour.
Clip 6. Amer (dir Cattet and Forzani, 2009)
The clip above
of Amer (2009) shows again
the desire of fetishism within the genre of the giallo plays such a strong role in the appeal of the giallo to the audience, the scene
seems to imply a playful approach to this fetishistic act as during the close
up of the woman’s mouth she slowly bites down on the metal seeming on her free
will; this can be interpreted as an symbolic act saying that the giallo of the 1970s themselves were
seductively playing with the fetishistic murders on screen.
Clip 7. Amer (dir Cattet and Forzani, 2009)
This final clip
above from the film Amer (2009)
shows it homage to the fetishism again of the giallo and the fashionable killer; seen here donning the
infamous black leather gloves; it’s also interesting to note that in this clip
the film seems to experiment with the colour blue, where we, as the audience
might expect the red, paying homage to the Argento’s fetish of the colour.
Instead this use of the cool of the stark blue in the scene I feel represents
the naturalistic and ease of approach of the genre back in the 1970s to show
such graphic and rather disturbing murder scenes, also could be read as how
cool and calm and undeterred approach to the point of view filming of such
graphic violence that the directors of the time had; especially with Argento, who as mentioned earlier, donned the black leather gloves himself from behind
the camera.
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