Vashirdfel Simply A Masterpiece

NekoHomey Purely Joyful Movie!

Noutions Good movie, but best of all time? Hardly . . .

Tymon Sutton The acting is good, and the firecracker script has some excellent ideas.

grahamcarter-1 After the disappointments in America that were 'The Black Cat' episode of the omnibus film 'Two Evil Eyes' (1990) and 'Trauma' (1993), Dario Argento made 'The Stendahl Syndrome' back on familiar Italian soil. He was rewarded with what became his highest grossing film in his homeland.As Anna walks through the streets of Florence, the film is reminiscent of Roberto Rossellini's 'Voyage to Italy' (1954). Statues like those that overwhelmed Ingrid Bergman smother Anna with the cultural past. Entering the 'Galleria degli Uffizi' she is immediately entranced by the power of the fresco; Bruegel's 'Landscape with the Fall of Icarus' causes Anna to faint and split her lip (an image recalled from 'Trauma,' which on some levels is a less sophisticated 'Stendahl…'). We know nothing about her, or why she has gone there, other than she seems to be looking for somebody, and someone is watching her.Outside the museum Alfredo introduces himself by returning her bag. Anna is still stunned and Alfredo, trying to make talk states, "Great works of art have great power." Anna escapes into a taxi, and rolling up of the taxi's window a reflection superimposes his face onto hers indicating that the two will become intricately bound.Finding her way back to her Hotel (the name is on the key), she discovers her name is Anna Manni a Police Detective from Rome. Finding sleeping pills with a prescription stating 'to help relax and go to sleep,' she takes the tablets and rests. Does she fall asleep? A copy of Rembrandt's 'The Night Watch' (1642), hangs on the wall and seemingly comes alive with Anna stepping into it; she has entered a crime scene. Inspector Moretti tells her that there is another victim of a serial rapist who operates in Rome and Florence, and has stepped up to murder. Inspector Moretti wants Anna to go to Florence and liaise with the authorities there. She steps back into her room, and Alfredo is there. He rapes Anna, cutting her lip with a razor blade making it bleed as it did in the 'Galleria.' She blacks out and awakens in a car; Alfredo is raping a woman on the seat next to her. Anna escapes the car, and the 'Bystander Effect' materialises as she runs bleeding down the street and ghostly faces passively gaze out on her from the surrounding windows.This extraordinary opening with dream like logic tells us who Anna is, why she was in Florence, as well as introducing the crimes to be investigated and the hurdles Anna will have to overcome. On waking in hospital, Anna cuts her hair and on the train back to Rome develops a taste for self-harm, deliberately cutting her hand. Psychologist Dr. Cavanna diagnosis her with Stendhal Syndrome; conveniently situated on his desk is Stendhal's 'The Red and the Black'. Without giving too much away, Argento's favourite alternate killer theory enters the story. And yet shortly after the 'fresco chaos' overwhelms Anna, and the narrative takes a discordant shift. The film takes a turn for the Brian DePalma, with Anna donning a blonde wig, and nothing is quite as it seems. The film ends on a chilling note with disturbing image that suggest Anna's conflicted relationship with the hostile frescos that have repeatedly challenged her concept of reality. Stendhal Syndrome is a real syndrome, which was first diagnosed in 1982. Graziella Magherini's book, 'La Sindrome di Stendhal' (1993) forms the basis of the film, which is an Argento film that has none of his characteristic long takes or tracking shots; the film also lacks his tell tale set pieces. One of the things that work best in the film is the reuniting of Argento with Morricone, who delivers a score reminiscent of 'Vertigo', whilst still being highly original in its own right. The score which follows the same tune played either forward or backward, is beautifully hypnotic yet strangely disturbing.

LakiM9 Being a big fan of Argento's(especially early work, like Suspiria) I just had to see this movie. As I have seen "The Card Player" before "The Stendhal's Syndrome", I was a bit concerned. It is in fact more intelligent and mature affair than previous Argento's movies. Anna Manni, the character played by his daughter Asia Argento(She also played in her father's Trauma), has more compassion than any other character in an Argento's movie, quite unlike the carelessly created cartoon-like characters of his other works. Also it is not as gore as for example Tenebrae.About technical parts. editing is done very nice(showing of 2 parallel actions happening in the same time and quick flashbacks). Also, like in all Giallo movies, color/lightning plays an important role in understanding of the movie itself. It's got flexible camera, especially in the beginning(when Anna walks through the museum). Unfortunately, it's got some bad effects and the dialogue is average, like in most Argento's movies.Won't spoil the ending, but the movie itself holds story nice and the ending is twisty, like in all Dario's movies.

sydneyswesternsuburbs Director Dario Argento who also created other classic flicks, Masters of Horror - Pelts 2006, Masters of Horror - Jenifer 2005, Phenomena 1985, Tenebre 1982, Suspira 1977 and The Cat o'Nine Tails 1971 has created another gem in The Stendhal Syndrome.Starring Asia Argento who has also been in other classic flicks, Land of the Dead 2005 and The Church 1989.Also starring Thomas Kretschmann who has also been in other classic flicks, Wanted 2008, Downfall 2004, Immortal (Ad Vitam) 2004, The Pianist 2002, Blade II 2002 and Stalingrad 1993.Also starring Marco Leonardi.I enjoyed the violence.If you enjoyed this as much as I did then check out other classic mental illness flicks, Bad Boy Bubby 1993, Black Swan 2010, Body/Antibody 2007, Boogeyman 2 2007, Bug 2006, Chasing Sleep 2000, House of Usher 1960, Grace 2009, Heart of Midnight 1988, Housebound 2000, Next Door 2005, One Point O 2004, Play Misty for Me 1971, Psycho 1960, Psycho II 1983, Repulsion 1965, Retribution 1987, Single White Female 1992, Sisters 1973, Sweetie 1989, Taxi Driver 1976, Excision 2012, The Babadook 2014, Danika 2006, Starry Eyes 2014, Crave 2012 and The Ugly 1997.

mrc77 I am giving this an 8 out of 10 because it is by Dario Argento, who I love. There are several things about Dario Argento's films that I don't love. Number one on that list would be the dubbing. I would prefer it if Argento would let the actors speak Italian and have subtitles at the bottom of the screen. I would love to hear Asia Argento speak Italian in this movie. I would love it if her vocals were not put in later, but instead were recorded by a boom mike over her head. I hate dubbing period, but I have gotten used to the use of it in Argento's films. The first half of the movie was kind of hard to get through, but it wasn't bad. I think Asia is a great actress, and she has a great style. I think she is going to have a breakout role one day that will cause the whole world to know her as a household name. The second half, I would call the "blonde wig" half of the movie was so much better than the first half. However, you can't have one without the other. If the first half is dark, the second half is the light. The scenes with Asia and Marie in the park and on the scooter were great. The scooter scene with Asia and Marie riding along the street with the old buildings in the background was one of the best cinematic moments I have seen in a while. I even liked how the people in the other cars were waving. I did not see the twist coming at the end. The whole movie reminded me of Silence of the Lambs, Cape Fear, Vertigo, Alice in Wonderland (when Asia is in the blue dress, running down the alternate exit of her building), and that Ashley Judd movie, Kiss The Girls. There were also several parts that reminded me of other Argento movies, but that is a given in all of his movies. The score was really cool. The closeups of the bullet traveling through skin was kind of neat, too. All in all, not bad - much more complex than his Hitchcock movie, but that wasn't too bad either. I also love how Argento always uses great locations for movies ... as if he is paying homage to all the beautiful parts of Italy (and Germany sometimes). It really makes you want to visit every place, and Hitchcock did the same with his movies. The only thing about Argento that bugs me is that he never can seem to make a really good, dark, complete movie. I think Suspiria is one of his few movies that worked on every level. I enjoyed Phenomena (Creepers), too, and I remember liking Deep Red (but I need to watch it again ... it has been a while). I just wish he would do something that really puts all of his talent into one movie.