Due occhi diabolici

Two horror stories based on short stories by Edgar Allan Poe directed by two leading terror filmmakers . An uneven and unoriginal anthology of terror stories adapted from the works of Edgar Allan Poe . Two famous horror directors , George A. Romero and Dario Argento realize a pair of Poe tales , though poorly rendered . In the first titled ¨Valdemar¨ by Romero deals with an egoistic , adulterous wife (Adrienne Barbeau) and a greedy , ambitious medic (Zada) leaving the husband in limbo between death and life . In the second part titled ¨The black cat¨, by Dario Argento , an unscrupulous , vengeful photographer (standout Harvey Keitel as a self-obsessed cameraman) murders his mistress (Madeleine Potter)'s black feline and walling it up . This second episode results to be slightly better than the first .

Interesting though average and poorly adapted but with imaginatively staged gory killings by the masters of horror, the talented writers/directors Dario Argento and George A Romero ; resulting to be the Argento part more successful than Romero first entry . American George Romero and Italian cult director Dario Argento , masters of arty gore, bring this eerie and stylish story plagued with depraved gore murders . Exciting film with effective aesthetic that packs lots of gore , guts , chilling assassinations and twists plots . Large support cast and cameos as Edgar G Marshall , Sally Kirkland , John Amos as a detective , Tom Savini as the Monomaniac and brief acting of a newcomer , the young Julie Benz of Dexter . This is a trademark terror work for the Horrormeisters Argento-Romero with high tension quotient and equally elevated suspense by means of an ever-fluid camera that achieves colorful shots well photographed . Atmospheric cinematography by Peter Reiners and odd wide screen , though color effects will suffer on small TV set . Thrilling and frightening musical score by Pino Donaggio . It's a homage to Allan Poe and cult director Roger Corman who directed the notorious ¨Tales of terror¨ with various stories distilled by Richard Matheson , being starred by Peter Lorre , Basil Rathbone and Vincent Price appears in all three segments . ¨Two evil eyes¨ is an acceptable and passable entertainment with surprising and intriguing situations , it does have a few good moments .

This scary motion picture is professionally directed by Dario Argento and George A Romero , though uninspired and with no too much originality . George A Romero directed the successful ¨The night of the living dead¨ and three equally celebrated sequels, ¨Dawn of the dead (78)¨ where the zombies attack a shopping mall ,¨Day of the dead dead (85)¨ about flesh-eating zombies taking over the world and scientific experimenting on zombies and ¨Land of dead(2005)¨ with high budget played by Simon Baker , Asia Argento and Dennis Hooper . While Dario Argento is one of those film-makers who set off simple for frightening us to death . His period of biggest hits were the 70s when he directed the animals trilogy : ¨Four flies over gray velvet¨, ¨The cat of nine tails¨, ¨Bird with the crystal plumage¨, after he directed some masterpieces as ¨Suspiria¨, ¨Inferno¨ , ¨Tenebre¨ and of course ¨Deep red¨ , one of the best ¨Giallo . In 1995 Argento made a comeback to the horror genre with ¨La Sindrome Di Stendhal (1996)¨ and then by another version of ¨The phantom of the Opera¨ (1998) both of which starred by his daughter Asia Argento . Most recently, Argento directed a number of 'giallo' mystery thrillers which include Insomnio (2001), ¨Il Cartaio (2004)¨, and ¨Ti Piace Hitchcock?¨ (2005), as well as two creepy , supernatural-themed episodes of the USA TV cable anthology series "Masters of Horror". Furthermore , to his Gothic and violent style of storytelling , ¨La Terza Madre (2007)¨ has a lot of references to the previous two movies as 'Suspiria and Inferno' which is a must for fans of the trilogy . And finally directed this so-so film called ¨Giallo¨ . This bloody fun plenty of graphic gore and weirdness may not be for all tastes but to be liked for Argento and Romero connoisseurs especially .

When the two greatest Horror directors alive (and two of the greatest of all-time), George A. Romero and Dario Argento make a movie together, a fan of Horror might rightly hope for a masterpiece. "Due Occhi Diabolici" aka. "Two Evil Eyes" from 1990 features two separate 1 hour films based on the work of Edgar Alan Poe, "The Facts In The Case Of Mr. Valdemar", directed by Romero, and "The Black Cat" directed by Argento. "Two Evil Eyes" is certainly great entertainment and a pleasant Horror experience, however it does not quite come up to the high expectations one might have of a film by these two brilliant directors. It must be said, however, that it may be very difficult for a Poe-themed movie to impress me after Roger Corman's brilliant Poe-cycle from the sixties, starring my all-time favorite actor, the great Horror icon Vincent Price. These films, such as "Pit And The Pendulum", "The Haunted Palace" and "Masque Of The Red Death" (just to name the three most ingenious masterpieces of this brilliant cycle) are essential all-time Horror greats, no Poe-themed film has ever come close to those flicks, and it is very unlikely that any ever will.

The second segment, Argento's "The Black Cat" is, in my opinion, a lot better than Romero's "Mr. Valdemar", not only for the fact that one of the greatest living actors, Harvey Keitel, plays the lead, but also since it is far more twisted and atmospheric.

"The Facts In The Case Of Mr. Valdemar", mainly based on Poe's short story of the same name, tells the tale of a woman named Jessica (Adrienne Barbeau), who, alongside her ex-lover (Ramy Zada), is willing to do quite anything to inherit the entire property of her terminally ill older husband (Bingo O Malley)... The 1 hour segment has some very eerie moments, and a chilling atmosphere over-all. As mentioned above, however, Roger Corman handled the same topic with a lot more depth in 30 minutes as the final segment of "Tales Of Terror" (1962). Admittedly, Corman had a brilliant cast, Vincent Price, Basil Rathbone and Debra Paget.

"The Black Cat", is also mainly based on Poe's short of the same name. However, this second segment furthermore contains elements from certain other Poe works. A crime-scene photographer with a familiar name, Roderick Usher (Harvey Keitel) and his younger girlfriend Annabel (Madeleine Porter) live happily together in a nice old building. Until one day Anabel takes a black cat home... The second segment is highly atmospheric, nightmarish and very eerie, and crowned by Harvey Keitel's leading performance.

All said, "Two Evil Eyes" is neither a highlight of Romero's nor Argento's career, however it is still a good film. Let's not forget we're talking about two geniuses here! If you set your expectations too high and expect a masterpiece of the brilliance of "Night Of The Living Dead" Or "Suspiria" you'll be disappointed. Nevertheless, this is great Horror entertainment. Just keep in mind that you're not about to watch something comparable to Romero's or Argento's masterpieces in quality, and you will have a great time as a Horror fan. My rating: 6/10 for Romero's segment and 8/10 for Argento's segment, makes an overall 7/10. Recommended!

Instead of your usual trilogy or anthology, TWO EVIL EYES is two hour-long Edgar Allan Poe adaptations written for the screen and directed by two top horror directors. "The Facts in the Case of Mr. Valdemar" (by George A. Romero) concerns a money-hungry wife (Adrienne Barbeau) and a greedy doctor (Ramy Zada) who team up to kill off the elderly husband Ernest (Bingo O'Malley) for his money. They unwisely use hypnotism to lure the victim to catatonia, which also allows Ernest to return from the dead and seek revenge. The storyline is too cliché in this outing and it's pretty dull despite an excellent lead performance from Barbeau and good (though sparsely used) Tom Savini make up FX. "The Black Cat" (by Dario Argento) is the reason to watch the movie. Harvey Keitel is typically good as Roderick Usher, an alcoholic crime photographer who makes a living publishing mondo photographs. His book ("Metropolitan Horrors") stirs up lots of controversy. The horror angle is added by a sinister black cat that constantly pops up in Usher's life and starts to drive him mad. Mixing elements from several Poe stories, Argento's flair for visual style and color schemes, loads of clever Poe reference (including nods to his "Pit and the Pendulum" and "Premature Burial") and lots of surprises, "The Black Cat" manages to be both entertaining and disturbing. Tom Savini also did FX for the segment (and appears). Pino Dinaggio did music for both.

It's always tricky to evaluate a filmmaker when at work on a film that is in an in-between realm of short and feature. Actually, by technical ruling (or what would be considered by most festivals), it is feature-length with each segment. But I found Two Evil Eyes an underrated effort, after reading many mixed reviews (many leaning to the lesser side for especially Romero's film, and some faint praise for Argento's). The Facts in the Case of Mr. Valdemar and The Black Cat are not the tippy-toppest best for either filmmaker, and for Romero it's a strange kind of quasi-conventional experiment while Argento stays in somewhat familiar territory. Each has its own strengths, own weaknesses, and it's a fine little treat.

'Valdemar': This starts with the veneer of what comes in the range of something like a cross between daytime Soap and a 40s melodrama. A woman (Adrienne Barbeau) married Mr. Valdemar late in life, and as he's about to die (and soon does) she stands to collect a load of money with her cuckold- a smooth operating doctor who has a knack for hypnosis.

What unfolds after his death, and their cover-up in order to secure more funds, is something still like a 'living-dead' movie for the director, but more psychological in head-games and, to be sure, a faithfulness to the Poe source. It is a peculiar feat to adjust to in seeing Romero, at least in the first half hour, directing more like an old pro of the studio era than with his trademark panache in editing and shocks.

This time he brings on the dread in a gradual fashion, built on guilt and paranoia, and then as Valdemar is in that freezer, a Gothic form of psychosis: two people stuck with a body, and a voice, they can't get rid of and become absorbed with. I liked it a lot- maybe more than I should have from what I read (the 'Soap' argument against it I read before, though Romero does try to give his actors more to work with than any hack would)- as it preys on the fear of death as not a final measure, with one last wicked kick in the nuts with that bed scene. Top shelf Romero? Not quite, but it's still oddly gripping, like a polished piece of clichés giving way to a wild head game of "old-school" horror.

8/10 'Black Cat': Argento's dip in the Poe pool goes to the lengths that he as a director always goes to: elaborate-to-the-Italian-horror degree style in camera and deranged horror, and even bits of dark horror that almost make Poe seem tame. I can't say how much this is tied into Poe more than I can Valdemar, but try as I might I couldn't see this as being totally peak Argento either, despite (or almost in spite of) everything he has going for it. Like Valdemar, it's about someone not coping with life after death; a photographer (Keitel) into the macabre, with a (color me shocked Argento) violinist girlfriend, has a black cat, whom the photographer strangles while taking some provocative photos. She knows he's behind it, but he can't stop himself- he needs another cat- just like the old cat- which will meet some grisly consequences.

Keitel's always game for something like this part, which plays like his Bad Lieutenant gone Grand Guignol, which makes for one of the best pleasures of the project. He doesn't have a whole lot of range in the role, but it's a fun one for him, chewing on the meat that Argento throws out for him scene after scene. Argento, meanwhile, even for *him* overdoes it with the horror music in certain scenes, and dares to go to too much excess with the symbolism of the white spots on the cat. But it's totally a wonder to see that dream sequence, where Keitel is in the midst of a medieval Pagan sacrifice, with a sharp cut-away in the most violent bit.

And I loved the pleasure that Argento takes in enlivening Poe's macabre with his own, with the violence extending from mania into the visual. I had my complaints at times, but it's hard to not throw up one's hands with Argento and say "why carp!" when he's unabashed in his passions of mostly constant camera movement (tracking, cranes, close-ups, pans, you-name-it) and illogical steps in plot (i.e. why Keitel's character would even put out a book with cat deaths knowing his girlfriend might see them, let alone so soon).

8/10 Bottom line, fans of the directors should check out the films, and decide for themselves how they do. It's two tall tales of curses and death, derangement and the surreal, and it's a concoction worth at least one viewing.

Two mad tales by Edgar Allen Poe as envisioned by two of the most respected horror directors in the world. In The Facts in the Case of Mr. Aldemar we are shown the evils of greed when the wife of a dying man is manipulated through hypnosis to steal his fortune before his death. But when the doorway between our world and the next is inexplicably held open we are introduced to the others. In The Black Cat we are introduced to Usher a crime scene photographer with a dark side and the eye for the macabre. When a proposed photography book falls through he uses his girlfriends cat to add more evil to his already twisted book. But this cat has more than nine lives and an evilness all its' own.A solid outing by two of my all time favorite directors. Barbeau and Keitel steal their respective episodes but look for cameos by Christine Romero and the FX guru Tom Savini. The production design is solid and the make-up effects (by Savini's crew) are awesome. Both tales are briskly paced and fans of the directors' should be pleased. 7/10