La sindrome di Stendhal
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FEATURING: , Marco Leonardi, Paolo Bonacelli, Thomas Kretschmann
PLOT: A female detective investigating a serial rapist finds herself stalked by her quarry, while intermittently experiencing hallucinations when she looks at works of fine art.
COMMENTS: A little over halfway through The Stendhal Syndrome, Anna announces (slight spoiler) that she’s overcome the Stendhal Syndrome. She’s not kidding; she doesn’t hallucinate again (although her psychological struggles are far from over). Argento had used the Syndrome, a fanciful and dubious affliction in which viewers supposedly swoon into a fugue state when confronted with great works of art, as an excuse to stage a handful of hallucination sequences which, it turns out, were inessential to the plot.
The fact that syndrome supplying both the film’s title and its high concept would basically serve as a red herring indicates either a certain sloppiness, or an admirable disregard for conventional plotting by an auteur who’s always favored atmosphere over storytelling, depending on your point-of-view. Combined with the script’s predictable final twist and a number of superfluous scenes, I lean towards the confused execution opinion. There are other missteps, such as some clumsy and unnecessary CGI (pills down a throat, a bullet passing through a head), which comes across as the director playing with a new toy rather than as an element enhancing the story. All of which is not to say that The Stendhal Syndrome is a failure. It borders on the psychologically profound: Anna’s shifting identities and a recurring theme of gender confusion reflect a sympathetic, believable, and engaging view of a rape victim’s trauma. As always, Argento sniffs out poetic camera shots, e.g. Anna’s reflection trembling in a blood-red glass of wine. And the movie’s opening—a dialogue-free seven minute sequence of Anna wandering through Florence’s Uffizi, scored to Ennio Morricone’s deceptively simple, increasingly ominous theme, and ending with the heroine passing through the canvas surface of Bruegel’s “The Fall of Icarus,” then the diving under its painted water, where she eventually locks lips with a bulbous fish—is one of this director’s best standalone sequences. Unfortunately, the rest of the movie can’t live up to the mysterious promise here. The Stendhal Syndrome not quite the resurrection of the classic giallo form it might have been, but Argento fans will find enough spooky psychodrama to savor to make it worth a watch.
It’s awfully creepy to reflect on Dario directing his daughter Asia through the brutal rape scenes (though to be fair, she was only cast after a couple of other actresses, Bridget Fonda and, withdrew from the project). Asia’s acting here gets mixed reviews, but she has a classic beauty in three incarnations—regular Anna, tomboy Anna, and glamorous blonde Anna—and indulges in enough B-movie histrionics to carry the film. She positively shines compared to the rest of the blandly European cast. The English dubbing is atrocious, almost perfunctory like in a bottom-shelf vintage 1970s giallo, and the Italian soundtrack is recommended.
Blue Underground’s 2022 Blu-ray release is identical to their 2017 three disc limited edition, minus the DVD. Originally, this set shipped in a substandard video transfer; that issue was rectified and should not be a problem anymore. This version restores an additional two minutes of dialogue that were missing from previous U.S. releases.
WHAT THE CRITICS SAY:
“…as fans of the Italian horror director may have guessed, [the syndrome is] little more than a suitably arcane jumping-off point for another of the filmmaker’s bizarre examinations of madness, obsession, and bloodshed.”–Marc Savlov, Austin Chronicle (1999 US release)