I watched Tenebrae and I liked it. 3.5/5
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Dario Argento’s Tenebrae (1982) marks a fascinating return to the giallo genre after the more supernatural horror of Suspiria and Inferno. With Tenebrae, Argento brings his signature flair for suspense, violence, and stylized visuals, but blends it with a more introspective and almost self-reflective look at the genre he helped define. It’s a film that feels both familiar and fresh in equal measure, though it’s not without its shortcomings.
The plot follows Peter Neal (Anthony Franciosa), an American mystery novelist who travels to Rome to promote his latest book, Tenebrae. However, Neal quickly finds himself embroiled in a real-life murder spree, as a killer begins targeting individuals associated with him, seemingly taking inspiration from the murders in his book. As the bodies pile up, Neal, along with his assistant Anne (Daria Nicolodi) and detective Germani (Giuliano Gemma), must work to unravel the mystery behind the killings.
On the surface, Tenebrae sticks to the tried-and-true giallo formula: a black-gloved killer, brutal murders, and an intricate mystery at its core. However, Argento pushes the boundaries by blurring the lines between reality and fiction. The film frequently explores the relationship between violence and art, raising questions about the influence of media on real-life actions. There’s a sense of Argento grappling with his own legacy in Tenebrae, as he dissects the criticisms often levied against his work, such as the accusations of glorifying violence or misogyny. These themes add an interesting layer of meta-commentary to the film, elevating it beyond a typical murder mystery.
Visually, Tenebrae is stunning. Argento’s direction is precise and assured, with each frame dripping with style and tension. The use of stark lighting and deep shadows gives the film a distinct visual identity, almost serving as a character in its own right. One of the most memorable sequences is the sweeping, nearly three-minute long tracking shot that follows the killer as they scale the outside of a building, peeking into windows before a gruesome double murder. It’s an incredibly impressive technical achievement, building suspense and showcasing Argento’s mastery of cinematic language.
The violence in Tenebrae is unflinching. Argento doesn’t shy away from graphic, elaborate deaths, and while some of the kills may feel gratuitous, they’re undeniably well-crafted. The murder set-pieces are often as much about artistry as they are about horror, with blood splattering across pristine white walls or glass shattering in slow motion. Goblin’s haunting synth score further enhances the film’s atmosphere, adding to the tension with its pulsating rhythms and eerie tones.
However, where Tenebrae falters is in its pacing and character development. While the film wastes no time getting to the action, it does feel uneven at times. There’s a certain coldness to the narrative, with the characters often feeling more like chess pieces being moved around in service of the plot rather than fully realized individuals. Peter Neal, in particular, feels somewhat distant as a protagonist. His motivations and personality remain somewhat opaque, making it harder to truly invest in his journey. Supporting characters, like Anne and detective Germani, serve their roles competently, but they’re not given much depth beyond their immediate functions in the story.
The film’s climax is both thrilling and chaotic. Argento pulls off a series of twists that, while surprising, may feel a bit convoluted. It’s the kind of ending that asks the audience to suspend disbelief, and while it works within the heightened reality of the giallo world, it may not fully land for those seeking a more grounded resolution. Still, the final moments are intense and memorable, leaving a lasting impression.
Ultimately, Tenebrae is a stylish, thought-provoking entry in Argento’s filmography. It’s a film that works on multiple levels, offering both a gripping mystery and a deeper commentary on the relationship between art and violence. While its pacing and character work may leave something to be desired, the film’s visual flair, inventive kills, and atmospheric tension make it a must-watch for fans of the giallo genre. It’s not Argento’s best, but it’s certainly one of his most interesting.