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IMDbPro

4 moscas de terciopelo gris

Título original: 4 mosche di velluto grigio
  • 1971
  • PG
  • 1h 44min
CALIFICACIÓN DE IMDb
6.5/10
11 k
TU CALIFICACIÓN
4 moscas de terciopelo gris (1971)
To mark the Fortieth Anniversary of its production, and twenty years after the film disappeared from the public eye, Shameless Screen Entertainment are aiming to release the first ever worldwide Blu-ray of Dario Argento’s Four Flies on Grey Velvet – remastered in HD from the original negative by the original lab.
Reproducir trailer1:01
1 video
99+ fotos
Dark ComedyGialloWhodunnitCrimeMysteryThriller

Agrega una trama en tu idiomaA musician is stalked by an unknown homicidal maniac, who blackmails him for the accidental killing of another stalker.A musician is stalked by an unknown homicidal maniac, who blackmails him for the accidental killing of another stalker.A musician is stalked by an unknown homicidal maniac, who blackmails him for the accidental killing of another stalker.

  • Dirección
    • Dario Argento
  • Guionistas
    • Dario Argento
    • Luigi Cozzi
    • Mario Foglietti
  • Elenco
    • Michael Brandon
    • Mimsy Farmer
    • Jean-Pierre Marielle
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    6.5/10
    11 k
    TU CALIFICACIÓN
    • Dirección
      • Dario Argento
    • Guionistas
      • Dario Argento
      • Luigi Cozzi
      • Mario Foglietti
    • Elenco
      • Michael Brandon
      • Mimsy Farmer
      • Jean-Pierre Marielle
    • 80Opiniones de los usuarios
    • 115Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Videos1

    FOUR FLIES ON GREY VELVEY
    Trailer 1:01
    FOUR FLIES ON GREY VELVEY

    Fotos126

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    Elenco principal37

    Editar
    Michael Brandon
    Michael Brandon
    • Roberto Tobias
    Mimsy Farmer
    Mimsy Farmer
    • Nina Tobias
    Jean-Pierre Marielle
    Jean-Pierre Marielle
    • Gianni Arrosio
    • (as Jean Pierre Marielle)
    Aldo Bufi Landi
    • Pathologist
    Calisto Calisti
    • Carlo Marosi
    Marisa Fabbri
    Marisa Fabbri
    • Amelia, the Maid
    Oreste Lionello
    Oreste Lionello
    • The Professor
    Fabrizio Moroni
    • Mirko
    Corrado Olmi
    • Porter
    Stefano Satta Flores
    • Andrea
    Laura Troschel
    • Maria
    • (as Costanza Spada)
    Francine Racette
    Francine Racette
    • Dalia
    Bud Spencer
    Bud Spencer
    • Diomede…
    Dante Cleri
    • Coffin Salesman
    Guerrino Crivello
    • Rambaldi, the Neighbor
    Gildo Di Marco
    • Postman
    Tom Felleghy
    • Police Commissioner Pini
    Leopoldo Migliori
    • Musician
    • Dirección
      • Dario Argento
    • Guionistas
      • Dario Argento
      • Luigi Cozzi
      • Mario Foglietti
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios80

    6.510.5K
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    Opiniones destacadas

    7gavin6942

    Argento in His Prime

    A musician (Michael Brandon) is stalked by an unknown killer who's blackmailing him for an accidental killing of another stalker. But is everything what it appears to be?

    The film opens with a great shot of drums from overhead and a beating heart, knowing that Argento is in the middle of his most stylistic period. Even the man with white gloves and disturbingly childish mask taking photographs is classic Argento.

    I liked the concept of the images burned on to the retina, and I enjoyed the humor of having a character named "God" and the "Hallelujah" chorus. This being the last Ennio Morricone score in an Argento film was not lost on me, as the musical style shifted greatly after this one. (Not necessarily in a bad way -- Goblin and Simonetti are incredible.)

    I was surprised to see homosexuality being so openly discussed in a film from this year. Maybe in Italy it was more acceptable than in America? Either way, an interesting addition.
    9Mario77

    One of Argento's WEIRDEST. Definitely NOT one of his worst!

    "Four Flies On Grey Velvet" is surely an odd, truly bizarre film, even by Dario Argento standards. In my opinion however, it most definitely is not a bad film, much less one of Argento's worst. Much of what is said about the film, by critics and fans alike, seems (to me) to wrongly condemn it. I definitely can understand why one might be frustrated by this film, but I don't believe that's a reason to reject it completely. Some may feel the acting and/or story isn't all that good. I would respectfully disagree. I feel the acting is strange and aloof, but I believe that it works in favor of the film; and the story is confusing, but that is typical for an Argento film, and as a viewer, I appreciate not being handed all of the answers on a platter. Perhaps what repels many viewers is consistently being displaced espacially within the film context; that is to say one (the viewer and/or the characters) doesn't necessarily always know where one is within the "reality" of the film or how one got there. Here, in what is perhaps Argento's most abstract film to date, the director makes some very bold, disarming choices with editing; choices I believe serve a greater purpose and add chillingly to the effectiveness of the film. For instance, the sequence in which the protagonist (Michael Brandon) is driving to the office of a private investigator. Shots of him driving in his car to the office are quickly intercut with gliding POV shots approaching the office building, going up the stairs, nearing the office door. The effect is that of feeling as if he is literally driving up the stairs and down the hallway to the office door, creating a tense and strangely humorous sequence of events. This editing technique, prevalent throughout the film, is surely a forceful presence and I suppose could turn off some viewers. Regardless of the editing, the atmosphere and visual punch of the film is pure Argento, albeit an Argento who was still developing his technique and discovering his style. There are many beautiful and stunning visuals to be appreciated, including the violent, shocking ending sequence and a very creepy chase scene in an otherworldly city park. My favorite visual flourish in this film is the reoccuring nightmare had by the protagonist, in which a Middle Eastern execution is taking place in a bleached out desert dreamscape; thoroughly chilling. A frantic, highly enjoyable score from the master Ennio Morricone adds greatly to the proceedings as well. I really like this film, despite whatever flaws it may have, and have but one question for anyone who thinks "Four Flies On Grey Velvet" is (one of) Argento's worst... "Have you seen "The Five Days Of Milan" or his "Phantom of The Opera"?

    Definitely not for everyone's tastes, but a certain must for any Argento fan, Euro-horror fan, or anyone who just really wants to be daring and see something totally different.
    SJSondergaard

    Glad to Be Grey

    As with the previous two entries in the unofficial Animal Trilogy, Four Flies on Grey Velvet is short on explicit gore but brimming with atmosphere and artistic ingenuity, with set-piece murders primed and mined for maximum tension. It was with this film that Argento began to cement his particular style and is something of a crucible for future ideas. The murder of Roberto's maid in a local park foreshadows John Saxon's fate in Tenebre, and with its sudden lapses in time and attempted escape through the cobwebbed space between two buildings (to a soundtrack of whispers and sighs) it also sows seeds that would flourish in Suspiria. Other visual motifs (crimson curtains, extreme close-ups, inanimate objects suddenly wielded by a seemingly maniacal camera) would be repeated or re-jigged in Deep Red, Phenomena and Opera.

    Argento's original intention was to have a gay protagonist and though the character of Roberto is still open to such a reading - his victimisation being as a result of a fear of being outed (as a murderer) has obvious correlations (note also Brandon's shaggy mane v Farmer's gamine crop or the rather tame bathtub scene with Francine Racette which sees Roberto playfully seducing his mirror image) - the more overt references are passed to Jean-Pierre Marielle, who brings immense likability to a small role and whose swish factor is tempered by a steely determination to finally cracking a case. A frosty Farmer acquits herself well, though Brandon is merely okay. Argento's fascination with weird science (here ludicrous by design but ingenious in execution) gives the film its animal-themed title, and the finale boasts one of his greatest sequences - a stunning, slow-motion shot of a car impacting with the back of a lorry, which marries chillingly beautiful aesthetics to Hollywood folklore, scored with Morricone's haunting "Come un Madrigale".

    Four Flies is a solid giallo and an important entry in the Director's canon which bears repeated viewing, blurring gender roles and sexual identity, adding subtext and hit and miss humour, asylum flashbacks, well-executed deaths and a recurring nightmare in the form of a sun-bleached, public beheading - the significance of which turns out to be twofold. It also has in spades what a good Argento giallo conveys like no other, that chilling feeling of something wholly alien on the loose in human form.
    7Tweekums

    Four Flies on Grey Velvet

    Roberto Tobias is the drummer in a rock group. He has become increasingly stressed as a strange man has been following him. Eventually he confronts the man, who pulls a knife on him! In the scuffle that follows the man is stabbed and dies. At this point Roberto realises that not only is there a witness, in a mask, who has taken pictures through a telephoto lens. Later the masked witness confronts him and tells him that they haven't finished with him. No money has been demanded but Roberto assumes it is a prelude to blackmail. Then people around him start being murdered. Will Roberto be able to find the identity of his tormentor before it is too late?

    On the one hand this is a mystery film but being from director Dario Argento it is something more... something weirder. As one would expect from him there are plenty of disturbing moments; these are made even better by the stylish way in which it is filmed and the music used. I had expected weirdness but what I didn't expect, and was a pleasant surprise, was the level of humour. When the killer is revealed it isn't a complete surprise but that said it was neither too obvious. Overall a fun film that I'd certainly recommend to fans of Argento; I need to watch more.
    7moonspinner55

    Bravura filmmaking

    Deluxe giallo from writer-director Dario Argento, with a presentation so stylish it threatens to overwhelm the plot. Dedicated husband and drummer for a rock band angrily confronts a mysterious man who's been following him; they scuffle and the stranger ends up stabbed with his own knife. No one is around to help the shaken musician, but there is one witness: a person in costume with a camera. This isn't a blackmailer--they don't want money--but the musician is quickly taunted with photos and notes...and soon, the people closest to him start dropping like flies. Argento shows an uncanny grasp of character here, and his roster of victims and suspects is delicious (there's also a scripture-quoting con-man who acts as a lookout, a terrified postman afraid of delivering the mail and a gay gumshoe hired by the protagonist who hasn't solved one case in his last 87!). Argento is a cinematic madman; his screenplay might not hold up under close scrutiny, but it's hard to nitpick with the small details when the end results are this tantalizing. *** from ****

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    Argumento

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    ¿Sabías que…?

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    • Trivia
      Dario Argento's usual collaborator Ennio Morricone scored the film, but had a major argument with Argento over some tracks Argento didn't want in it. As a result, the director and Morricone would not work together again until 1996, and the rock group Goblin would eventually become Argento's regular composers.
    • Errores
      During the scene where Nina is shooting Roberto, her dubbing inexplicably goes in and out of English and Italian repeatedly, though she has never spoken Italian before this scene.
    • Citas

      Roberto Tobias: Well, it's a bit risky, and, and I don't...

      Gianni Arrosio: Ah, yeah. And you're thinking this fairy will jump on a chair and scream bloody murder if he sees a mouse, right?

      Roberto Tobias: Yes, that's what I thought.

      Gianni Arrosio: Oh, you heterosexuals! I don't suppose you've ever had a homosexual experience?

      Roberto Tobias: Let's just forget it, man.

    • Créditos curiosos
      You have just seen Four Flies on Grey Velvet.
    • Versiones alternativas
      The original U.S theatrical release was cut mainly for pacing as well as shortening the tub love scene and a decapitation for a PG rating.
    • Conexiones
      Featured in El mundo de horror de Dario Argento (1985)

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    Preguntas Frecuentes14

    • How long is Four Flies on Grey Velvet?Con tecnología de Alexa
    • What are the differences between the US VHS Version (Silver Star) and the UK VHS Version (Virtual Assassin)?

    Detalles

    Editar
    • Fecha de lanzamiento
      • 6 de diciembre de 1973 (México)
    • Países de origen
      • Italia
      • Francia
    • Idioma
      • Italiano
    • También se conoce como
      • Four Flies on Grey Velvet
    • Locaciones de filmación
      • Milan, Lombardia, Italia(subway scenes)
    • Productoras
      • Seda Spettacoli
      • Universal Productions France
    • Ver más créditos de la compañía en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      1 hora 44 minutos
    • Color
      • Color
    • Mezcla de sonido
      • Mono
    • Relación de aspecto
      • 2.35 : 1

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