PHENOMENA
July 5th 2008 09:09
PHENOMENA (1985)
Also known as Creepers (USA).
Starring: Jennifer Connelly, Donald Pleasance, Daria Nicolodi, Patrick Bauchau.
Written by: Dario Argento and Franco Feririni.
Directed by: Dario Argento.
Often regarded as one of Argento’s lesser works, Phenomena is still a glorious dripping buffet for any fan of his films. The bulk of the narrative plays out like Suspiria-lite. A very young (before she encountered Jareth the Goblin King and his too-tight pants in Labyrinth) Jennifer Connelly stars as Jennifer Corvino. She is sent to an all-girls boarding school in Switzerland, while her father, a legendary actor and heart-throb, is off shooting a film. As with all educational facilities in Argentoville, the school consists of a series of looming buildings, many of which are off-limits to the students. The official explanation for this is a lack of architectural soundness, but since this is a horror film, it probably has a lot more to do with the pike-wielding killer that’s been slaughtering girls in the abandoned hallways.
Things look pretty bad for Jennifer – she’s tormented by the appalling little witches that she shares her classes with, intimidated by the icy headmistress, and, worse still, she’s sleepwalking. In one night Jennifer: sleepwalks onto the balcony of the abandoned wing, witnesses a grisly murder, falls off the building, is run over and then nearly sexually assaulted by a couple of German fratboys; she is then thrown from a moving car, only to roll down a steep bank and land in the middle of the countryside, before finally encountering a wandering chimpanzee who escorts her to the residence of a wheelchair-bound Scottish Entomologist. Prof. John McGregor (Pleasance, taking time out from saying how Michael Myers has the blackest eyes he’s ever seen) breaks the ice with Jennifer by telling her that his bugs find her arousing. Just the sort of thing a girl wants to hear. Helpfully, Jennifer loves insects and seems able to communicate with them telepathically. Later, with the aid of a spotlight and a wind machine, she summons a colossal horde of the winged critters.
Anyhow, so there’s a killer working the area. After her roommate disappears (with only a maggot-crawling glove left behind), McGregor realizes Jennifer’s abilities might mean she’s able to track the killer to their lair. (That he sends her off on her own, with only a carrion-fly for company, indicates a lack of forethought on his part). It is only a matter of time before the killer starts taking a rather personal interest in Jennifer and the Professor.
The film rattles along merrily with the odd chill or splash of carnage to keep the audience happy (once more Argento indulges his fondness for pushing women’s faces through glass). However, it is in the extended climax that Phenomena really hits its stride. A towering Operatic crescendo of over-the-top horror, it features: self-induced vomiting, a cesspit of rotting bodies, a deranged killer, a grotesque monster-child, a horde of chattering insects, a burning lake, a shock decapitation (is there any other kind?), and a vengeful razor-wielding primate.
As with Tenebrae and Deep Red, Argento avoids overloading Phenomena with awkward red herrings, which makes the mystery a lot more compelling and, ultimately, satisfying. There are also some very fine twists and turns in the plotting.
Phenomena looks fantastic. Switzerland is all rolling green hills and icy rivers. The cinematography is typically thrilling, though there’s nothing quite as daring as the one-shot sequence in Tenebrae. The kill-sequences are suitably elaborate and grisly and there are only occasional lapses in originality (look out for a nod to Don’t Look Now). I’m not sure what to make of the voice-over that comes in at one point: especially since it only serves to reiterate points already made in the rather clunky expository scene before it.
The acting is all over the place, with many of the performances quite stilted, and some dialogue is delivered very awkwardly. Jennifer Connelly is rather good (if a little reserved) and Pleasance does a fine job of making his scenes with her less squirmy than they could have been. In truth, the chimpanzee gives the film’s finest performance. The soundtrack is a bit of a muddle: I’m not sure you should score a creeping-fear scene with 80’s cheese-metal (Iron Maiden just isn’t that atmospheric). However the theme – courtesy of Argento favourites Goblin – is very cool with its baroque synth-lines and wordless Operatic keening.
Phenomena is a delirious and blood-spattered romp through the tangled psyche of Dario Argento. It may not be Suspiria but it is still worthy of your time. And bloody hell, that kid is ugly. Just look at its frigging teeth.
Also known as Creepers (USA).
Starring: Jennifer Connelly, Donald Pleasance, Daria Nicolodi, Patrick Bauchau.
Written by: Dario Argento and Franco Feririni.
Directed by: Dario Argento.
Often regarded as one of Argento’s lesser works, Phenomena is still a glorious dripping buffet for any fan of his films. The bulk of the narrative plays out like Suspiria-lite. A very young (before she encountered Jareth the Goblin King and his too-tight pants in Labyrinth) Jennifer Connelly stars as Jennifer Corvino. She is sent to an all-girls boarding school in Switzerland, while her father, a legendary actor and heart-throb, is off shooting a film. As with all educational facilities in Argentoville, the school consists of a series of looming buildings, many of which are off-limits to the students. The official explanation for this is a lack of architectural soundness, but since this is a horror film, it probably has a lot more to do with the pike-wielding killer that’s been slaughtering girls in the abandoned hallways.
Things look pretty bad for Jennifer – she’s tormented by the appalling little witches that she shares her classes with, intimidated by the icy headmistress, and, worse still, she’s sleepwalking. In one night Jennifer: sleepwalks onto the balcony of the abandoned wing, witnesses a grisly murder, falls off the building, is run over and then nearly sexually assaulted by a couple of German fratboys; she is then thrown from a moving car, only to roll down a steep bank and land in the middle of the countryside, before finally encountering a wandering chimpanzee who escorts her to the residence of a wheelchair-bound Scottish Entomologist. Prof. John McGregor (Pleasance, taking time out from saying how Michael Myers has the blackest eyes he’s ever seen) breaks the ice with Jennifer by telling her that his bugs find her arousing. Just the sort of thing a girl wants to hear. Helpfully, Jennifer loves insects and seems able to communicate with them telepathically. Later, with the aid of a spotlight and a wind machine, she summons a colossal horde of the winged critters.
Anyhow, so there’s a killer working the area. After her roommate disappears (with only a maggot-crawling glove left behind), McGregor realizes Jennifer’s abilities might mean she’s able to track the killer to their lair. (That he sends her off on her own, with only a carrion-fly for company, indicates a lack of forethought on his part). It is only a matter of time before the killer starts taking a rather personal interest in Jennifer and the Professor.
The film rattles along merrily with the odd chill or splash of carnage to keep the audience happy (once more Argento indulges his fondness for pushing women’s faces through glass). However, it is in the extended climax that Phenomena really hits its stride. A towering Operatic crescendo of over-the-top horror, it features: self-induced vomiting, a cesspit of rotting bodies, a deranged killer, a grotesque monster-child, a horde of chattering insects, a burning lake, a shock decapitation (is there any other kind?), and a vengeful razor-wielding primate.
As with Tenebrae and Deep Red, Argento avoids overloading Phenomena with awkward red herrings, which makes the mystery a lot more compelling and, ultimately, satisfying. There are also some very fine twists and turns in the plotting.
Phenomena looks fantastic. Switzerland is all rolling green hills and icy rivers. The cinematography is typically thrilling, though there’s nothing quite as daring as the one-shot sequence in Tenebrae. The kill-sequences are suitably elaborate and grisly and there are only occasional lapses in originality (look out for a nod to Don’t Look Now). I’m not sure what to make of the voice-over that comes in at one point: especially since it only serves to reiterate points already made in the rather clunky expository scene before it.
The acting is all over the place, with many of the performances quite stilted, and some dialogue is delivered very awkwardly. Jennifer Connelly is rather good (if a little reserved) and Pleasance does a fine job of making his scenes with her less squirmy than they could have been. In truth, the chimpanzee gives the film’s finest performance. The soundtrack is a bit of a muddle: I’m not sure you should score a creeping-fear scene with 80’s cheese-metal (Iron Maiden just isn’t that atmospheric). However the theme – courtesy of Argento favourites Goblin – is very cool with its baroque synth-lines and wordless Operatic keening.
Phenomena is a delirious and blood-spattered romp through the tangled psyche of Dario Argento. It may not be Suspiria but it is still worthy of your time. And bloody hell, that kid is ugly. Just look at its frigging teeth.
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