It goes beyond trippy visuals to actually depicting visuals of a trip the plot centers around trying to piece together a murder mystery where all of the witnesses were on LSD at the time of the killing. Fulci also had some early "animal" Giallo films: "A Lizard in a Woman's Skin" ('71), which has a lot in common stylistically with Argento's "Four Flies" of the same year. Lucio Fulci's films had always been somewhat violent, but after his wife killed herself in 1969, his films became downright sadistic. Argento spent just over a decade at the top of his game and has since kind of receded from relevance.
Even before introducing fantasy elements, Argento brought a palette of neon-bright primary colors and psychedelic special effects to the genre. "Deep Red" ('75), "Tenebrae" ('82) and "Opera" ('87) are notable "golden era" Argento Gialli. Some of the most wildly inventive Gialli come from this wave of films. She is one of the lesser-known heroes of Giallo and helped Argento invent and capitalize on this new fantasy-rich Giallo subgenre. Though primarily working as an actor, Nicolodi co-wrote Argento's most successful film "Suspiria" and was uncredited, but also contributed writing to Argento's "Inferno" ('80) and later Luigi Cozzi's "The Black Cat" (1989).
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It was Daria Nicolodi (RIP) who pushed him to go from pseudoscience to full on supernatural fantasy elements over the top of what was still fairly recognizably a Giallo formula. Once he abandoned the "rules" of the classic whodunnit, he found something more intriguing, more open-ended. I think at this point Argento's stumbled across the secret of his later success but didn't realize it right away: a divorce from being grounded in reality. In "Four Flies", he introduced pseudo-science into his narratives: a fictional method of reproducing the last image seen by a dead man's eye.
He started out more or less following Bava's formula with his early "animal" films: "The Bird with the Crystal Plumage", "Cat O' Nine Tails" and "Four Flies on Grey Velvet" (all in '71). Just as the Giallo formula inspired the slasher genre, the girls' school Giallo inspired the sorority slasher subgenre, which is still alive and kicking.īut back to Argento. Lucio Fulci's "Aenigma" ('87, all-girl boarding school) is another good one. Films like Spain's "The House That Screamed" ('69, home for disturbed girls) paved the way for a few Dario Argento's girl school films (he seemed to enjoy this trope and these films are among his best-loved) : "Suspiria" ('77, all-girl ballet school), "Phenomena" ('85, all-girl boarding school). There is a "girls' school horror" subgenre that weaves in and out of the Giallo genre, usually involving mysterious disappearances at an all-girls' school (or "home") leading to a macabre reveal of some sort. Wardh" ('71) and "Your Vice is a Locked Room and Only I Have the Key".('72). Great examples of this style include Maro Bava's "Blood and the Black Lace" (1964), the Carol Baker / Umberto Lenzi films ('69-'72) and "The Corruption of Chris Miller" l('73), "The Strange Vice of Mrs.
There's the classic murder mystery giallo, which is basically the Agatha Christie "10 Little Indians"-style gothic whodunnit formula jazzed up with and eventually eclipsed by extra bright colors, designer costumes and more focus on lurid sexual affairs, love triangles and blackmail. Can you tell me some Gialli you've really enjoyed? Or a subgenre you like?
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