Dario Argento has returned with his first directorial effort in ten years! Of course, there are many fans who will just shrug at the release of Dark Glasses, as the legendary Italian auteur hasn’t produced any must-see work for decades (for what it’s worth, I greatly enjoy his Masters of Horror episodes, though). What we have here is a simple return to form, with Argento stretching his legs in familiar territory, and while not everything lands, I was never less than engaged and entertained.
A serial killer that targets prostitutes is loose in Rome. After a grisly opening sequence, we are introduced to our lead, Diana (Ilenia Pastorelli), a high-class call girl. She’s good at her job and she doesn’t take shit from the clientele. After fleeing from a date gone wrong, the killer makes his attempt on her. Diana escapes in her car, but the killer follows, eventually ramming her into an intersection. The ensuing crash is spectacular.
When Diana awakens in the hospital, she discovers she has been permanently blinded as a result of her injuries. To make matters worse, the accident ruined the life of a young boy named Chin (Andrea Zhang), as it claimed the life of his father and put his mother into a coma. United by tragedy, Diana and Chin soon become inseparable. The killer is still out there, though, and he’s looking to finish the job.
It’s sometimes difficult to accurately gauge performances in subtitled films as certain aspects, like line delivery, are rendered moot to this monolinguist. However, I felt like everyone did a fine job. Pastorelli kept my attention and garnered my sympathies. She’s totally believable as a no nonsense woman that has a new vulnerability forced on her. There’s some meat to her arc and the young actress delivered a solid turn. I’d be remiss if I didn’t mention that Asia Argento is excellent (and unrecognizable) in a largish supporting role as a frumpy but warm social worker that specializes in acclimating the recently disabled to their new lives.
Dark Glasses was written by Argento and Franco Ferrini. As far as structure goes, it’s fairly tight. The 86-minute runtime adheres to an easily discernible three acts that gives rhythm to the piece. The premise is fine, if unoriginal. Narrative, which has never been an Argento strong suit, is a little shaky. The reveal of the killer’s identity lands with a thud and a few plot turns are frankly ludicrous. Still, Argento’s direction is able to imbue the story with some fun and tension.
Cinematographer Matteo Cocco puts in a mostly workmanlike effort. Those looking for multiple artfully composed Grand Guignol tableaux of the sort that garnered Argento his fanbase are likely to be disappointed. However, there are a handful of stylish shots that are truly lovely. My favorite is a sequence where Diana dreams of a man dressed completely in black wielding a preternaturally silver blade against a darkened background. It’s a striking image that sticks with you.
Effects work and stunts are well done. Thankfully, CGI is mostly eschewed for a practical approach. This isn’t a splatter flick, but the film does feature a nice selection of nasty gore. We also get three real car crashes, which is always nice to see. The fight sequence that occurs near the end of the film is decently brutal and appropriately unflashy. A scene involving a nest of attacking snakes is completely silly but enjoyable nonetheless.
Electroclash pioneer Arnaud Rebotini supplies the propulsive score. Argento fans that cut their teeth on suites by the likes of Goblin and Keith Emerson will likely find themselves bobbing their heads to the beat. It’s distinctive work that doesn’t overwhelm the visuals and feels more modern than throwback.
Dario Argento’s Dark Glasses isn’t exactly a triumphant comeback, but there’s plenty to enjoy here. I went in with managed expectations and was pleasantly surprised by the work delivered by the 80-plus-year-old director. Honestly, it feels like a bit of a victory lap for the aging fan favorite and I’m completely okay with that. Look for Dark Glasses to start streaming on Shudder on October 13th and to arrive in theaters for a limited run not long after that. Recommended for fans of stinky johns, shiny knives, and slit throats.
Michael Cavender