Trauma

When I picked up TRAUMA at the vid-store, I wasn't really expecting much from it. I'm not a big Argento fan, but I do enjoy Italian horror/cult films. I have to say, I was totally impressed by it! It was a surprisingly great horror-suspense film with great camera work & gore as well. A lot of familiar faces in this film including James Russo, Cristopher Rydell, and Piper Laurie who you might remember from THE FACULTY. Also the lovely Asia Argento who commands the movie like she did in Michele Soavi's THE CHURCH.

Before URBAN LEGEND, I KNOW WHAT YOU DID LAST SUMMER 16, & SCREAM 3000 there was Dario Argento's TRAUMA. And if you enjoyed any of those similar movies you should love this one as well. Except this one is ten times more scarier and realistic with tons of unexpected plot twists that would put all those movies to shame. Its just too bad Argento doesn't make any more horror movies 'round these parts.

TRAUMA

Aspect ratio: 2.39:1 (Technovision)

Sound format: Dolby Stereo

A TV newsroom artist (Mark Rydell) helps a distraught anorexic (Asia Argento) to investigate the death of Argento's mother (Piper Laurie) at the hands of a monstrous serial killer.

Though often cited as the film which signalled a creative downturn in Dario Argento's career, TRAUMA is actually a much better entry than its reputation suggests. The victim of spotty theatrical distribution and horrendous pan-scanned video versions - which reduce the wide Technovision frame to a mere shadow of its former self - the film is an exercise in giallo excess, culminating in one of the finest Grand Guignol set-pieces of this director's long career. Indeed, far from providing evidence of 'creative decline', TRAUMA is actually a fine addition to Argento's filmography, and is ripe for reappraisal.

Despite its American setting, the film is defiantly European in style and execution, employing ultra-wide scope framing, inventive camera-work (including a bizarre shot from the point-of-view of a butterfly!!), ornate narrative structure and eccentric characterizations. It's no wonder some of the supporting American players seem a little disconcerted by the director's unconventional approach (including Frederic Forrest as a doctor sporting an unexplained neck-brace, and James Russo as a typically hard-boiled cop, always one step behind the film's youthful protagonists)! And the script - co-written by Argento and celebrated fantasy author T.E.D. Klein - adheres faithfully to the giallo template, punctuating its convoluted storyline with several grisly murders (though not *that* grisly, considering the involvement of makeup wiz Tom Savini), and a number of compelling set-pieces: The seance which ends in murder; the mental institution where the killer disposes of an important 'clue'; the room full of billowing drapes (an authentic stroke of genius); and the climactic revelation of the killer's motive, which is so utterly horrific, it almost justifies his/her gruesome rampage. The movie ain't called TRAUMA for nothing!

At least two other versions of the film have surfaced in bootleg video form over the years, both of which plug a number of gaping editorial gaps in the official 'director's cut' (note, for instance, the abrupt introduction of Rydell and Asia at the beginning of the film), which indicates either distributor problems or a rushed post-production schedule. This may explain why Pino Donaggio's half-hearted score sounds like it was written and recorded before completion of principal photography and tailored to match the finished product, rather than the other way around. The cast is a typical Argentonian mixed bag: Asia portrays the same joyless harpy she's played in all her collaborations with Argento to date (including THE STENDHAL SYNDROME and THE PHANTOM OF THE OPERA), leaving Rydell to shoulder most of the film's emotional burden as a young man who learns to accept Asia's flaws whilst simultaneously falling in love with her (few) virtues. Frankly, she doesn't deserve him! Laurie makes much of her limited screen time as Asia's domineering mother, while Brad Dourif (the "Lord of the Rings" trilogy) plays a former doctor whose guilty conscience comes back to haunt him in the worst possible way. Watch out for ex-"Falcon Crest" star Laura Johnson in a brief but creepy performance (her final scene is genuinely chilling) as an ambitious TV news anchorwoman who tries to stake her claim on Rydell in no uncertain terms.

Dario Argento makes a clunky transition to film-making in the United States with "Trauma," but still succeeds in creating an atmosphere of suspense and menace. The cast, while well-chosen, is prone to overacting (with Piper Laurie and Frederic Forrest being the key offenders), and the plot revolves heavily around coincidence. Despite this, Argento's skillful POV shots (the hospital sequence is especially impressive) imbue the film with an efficient mood of dread, and the story, once fully revealed, makes a bit more sense than the director's earlier, more artistic efforts. Tom Savini's makeup effects are well-done, but underutilized (even in the uncut version).

Italian's top-class horror director Dario Argento obviously impressed some people with his previous films ('Opera' in particular) as he was offered the opportunity to film a fully American backed production. Trauma is a gruesome and sadistic thriller from the giallo-master, completely set in Minnesota and depending on a respectable US cast. There's a serial decapitator at large and the young, anorexic Aura (director's daughter Asia Argento) seemly is his/her main-target. The good-hearted journalist David (Christopher Rydell) takes the girl under his wings after the killer got both of her parents and, as their relationship becomes more intimate, the routine of sadistic killings slowly emerges. A bone-chilling mystery from the past slowly unravels and it involves multiple (ex-)doctors from a psychiatric clinic.

The plots in gialli rarely are credible so you can count on the fact that this 'Trauma' contains several far-fetched nonsense aspects as well. Especially the U-turn twist near the end is pretty hard to digest. My advise: don't pay too much attention to this and drown in Argento's brilliant as always camera movements and the stunning portrayal of the violence. Trauma may not be as bloody as 'Tenebrae' or the more recent 'Sleepless' but some of the butchering done here still is perfectly nauseating. What else do you expect with a killer whose modus operandi includes beheading people? Unfortunately, Argento still lacks the skills to direct his actors. You can't even blame the dubbing this time, but the performances are far below average. Asia Argento is forgiven, since it was her first leading role. But I expected a little better from routine B-stars like Frederic Forrest, Piper Laurie and James Russo. Brad Dourif is a joy to observe, but his appearance is far too brief to save the dull acting. To me, Trauma turned out to be a pleasant Sunday afternoon time-waster. Not nearly Argento's most memorable film (he hasn't made any memorable film in the 90's) but maybe the ideal film for inexperienced horror fans to get into contact with Argento's work. All the trademarks that made him legendary in the field are present, but none of them is properly elaborated like it should be.

Argento's American filmed giallo movie in which an unknown killer decapitates victims using a small mechanical device during rain storms. One kill is achieved by first activating a motel room fire extinguisher before execution. I liked this aspect of the movie. I noticed a few nods to Hitchcock too, some music and a shower scene. Dario's daughter Asia, 18 at the time, stars. A very attractive young woman and I am no prude but I felt her brief topless scene was not really necessary, One of the things that spoilt Trauma was for me what I can only describe as silliness, one decapitated head manages to utter a name, another yells out loud as it falls down a lift shaft. Some of the musical score would not be out of place in a comedy, so different from the Goblin soundtracks from Argento's classics. Trauma looked like nothing more than a straight to video movie, the production values were no better than a half decent TV film. When the end credit roll we suddenly get a random reggae band playing at some house. Strange. As a crime thriller/horror film Trauma is reasonable but as an Argento movie it is disappointing. Not his worst film but very poor compared to the likes of Deep Red and Suspiria.