Mario77

I bought this film as a double feature dvd and thought it would be good for a few laughs. I put it on while friends were over ( thinking we would skip through it) and we were amazed by the clever opening credits that looked kind of like something from Terry Gilliam. The opening scene is quite surreal. It opens in a cool New York apartment shared by 2 60's swingers. One of them a Nurse and the other a fashion model who also serves as our narrator. They are in bunk beds smoking and using the coolest hanging ashtrays you'll ever see. The model tells of the dangerous fates they did not know that were ahead of them and the music in the scene is dark and creepy and amazingly playing on the models record player. The nurse asks the model to change the record, and she puts on some kind of marching music. I cannot give this scene justice, you must see it for yourself. What really surprised us was the ending. The Battle for Camp Sunshine is a true epic on film making.The epic military scenes and touching ending make this a classic horror-nudist-war movie almost anyone could enjoy. The nudity could hardly offend anyone, there is very little of it. The look of the actors and the excellent cinematography make this great viewing if you are in the mood for something like this. And you must be if you are reading this comment. I say go see it!

"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.

I personally love this movie and I'm a shameless admirer of Dario Argento, so take my comments as worth a grain of salt. Sure, "Cat O' Nine Tails" (1971) is not an Argento "masterpiece" (depending what one's criteria are) and is certainly not a perfect film, but the "good stuff" in this baby just outweighs whatever it's faults may be, as far as I'm concerned. It's beautifully photographed (as usual) and makes lovely use of the widescreen filmscape, it has a great Ennio Morricone musical score and it really displays the first true signs of Argento's unique "ultra-style" and technique for which he is now so beloved. There are some gorgeous set pieces here and some truly striking sequences (the cemetery scene and the car chase are my two particular favorites). The film is filled with typically Argento-esque odd, eccentric characters and bit players and the atmosphere created is one of true unease and hidden perversion. Karl Malden is terribly sweet and thoroughly convincing as the blind man Arno and James Franciscus is handsome and cool (almost too cool) as the reporter with whom he collaborates. I think Catherine Spaak makes a great leading lady with her aloof beauty and non-acting presence. She, to me, represents the kind of female character that Hitchcock was so good at bringing out of his actresses; she is a virtual blank slate upon which the director (in this case Argento) projects what he wants. This being Argento's second film as director, it's perhaps true that he does not achieve the delirious highs and awe inspiring beauty of some of his later films. But on the flip side, "Cat O' Nine Tails" is exceedingly better than so many other 'giallo' films of that era or any era. Definitely a must for any Argento fan and, I think, a good recommendation for anyone looking for a unusual Euro-Horror-Thriller.