Dois Olhos Satânicos

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.

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!

This teaming of DAWN OF THE DEAD collaborators George Romero and Dario Argento and horror maestro Edgar Allan Poe is one of the most underrated horror movies in recent memory.

TWO EVIL EYES received minimal theatrical distribution in the USA (where most people wouldn't know a good horror movie if they tripped over it), and went practically straight to video, where it didn't do too impressively either. This was undoubtedly due to some scathing reviews that labelled this movie as abysmal, boring and pointless.

I, on the other hand, think TWO EVIL EYES is a great movie. True Romero fans will see the director's brilliance at work in "The Facts in the Case of Mr. Valdemar". Romero steers clear of blood and guts (which is why most "fans" were disappointed by it) and instead creates a macabre atmosphere, and gives the piece the look and feel of an EC or Warren horror comic, complete with campy dialogue and over-the-top performances. Pick up a copy of TALES FROM THE CRYPT or CREEPY and compare it to Romero's segment.

You'll see how perfectly Romero captures the flavor of a bygone era in illustrated horror. When the mesmerized Valdemar wails "Jessica", you can almost see the wavy dialogue bubble appear next to his head. It's as worthy a tribute to such publications as the Romero-Stephen King masterpiece, CREEPSHOW. Romero takes liberties with Poe's story, but keeps the feeling of irony and sardonic wit that makes Poe's work so rich. It's a great little movie from one of the true masters of the genre, though, unfortunately, it's his best work to date since DAY OF THE DEAD.

I may be one of the only defenders of this movie who likes Romero's part better than Argento's. This is because Romero keeps Poe's spirit alive throughout his segment. Argento simply takes one basic story ("The Black Cat"), adding elements from a few other Poe stories (including "Berenice" and "Pit and the Pendulum") and uses them as a clothesline for his own twisted and bizarre nightmare fantasies. There's nothing wrong with that, but I think he fails to capture the feel of Poe, which I thought was the point of the movie (which was his idea). At any rate, it's very good Argento. His camera constantly swoops and creeps along the corridors of the house in which the story takes place, and he creates some genuinely disturbing imagery. He also gets an excellent performance from Harvey Keitel, who brings a cruelty and maliciousness to his character most actors would not dare attempt.

Overall, TWO EVIL EYES is an entertaining movie for horror fans who enjoy more than just blood and guts, and are patient enough to let a story take its time developing. Give it another chance.

Horror meinsters George Romero and Dario Argento each direct an hour long(or so) segment based on stories by Edgar Allan Poe. Romero's is first and is based on a lesser Poe story "The Strange Facts in the Case of M. Valdemar." A wealthy man is dying and hypnotized by a doctor who is aiding the rich man's beautiful wife for money and other fringe benefits. This segment is fairly well-conceived by Romero(who also wrote the script). The horror is more subtle than what you might expect and not very gory. Adrienne Barbeau, still quite a dish, does a good job as the ruthless wife and Ramy Zada does a mediocre job as her accomplice. E. G. Marshall has a bit part that he devours with gusto. The second segment by Argento naturally is the more bizarre and bloody. It is based on the oft-filmed story "The Black Cat." Argento creates a story about a photographer, played by Harvey Keitel, specializing in crime scene photos that also enjoys killing cats. Eventually his instincts lead to much higher organisms. This is also a decent piece as a whole. It has a load of famous actors: John Amos, Martin Balsam, and Kim Hunter. Argento puts a weird dream sequence that is nicely shot but has little relevance to the plot at all. This segment has a big payoff scene at the end that was very original if nothing else. Although certainly more suspenseful then Romero's piece, I liked the first one a bit more. It seemed to have greater continuity. Neither piece has any real life to it, and I think the film suffers a bit from the two story format. It is entertaining though and does provide a few honest chills.

Two Evil Eyes is a collaboration by two horror masters; George A. Romero (Night of the Living Dead), and Dario Argento (Suspiria). Special effects are also provided by the top name in horror movies of the period, Tom Savini. To top it off, both stories are based on works by Edgar Allan Poe, arguably one of the largest influences on works of horror, well... ever. And the efforts of these great names quite lives up to expectations. In fact, it may succeed them if you are aware of the decline in the quality of output by both of these directors around this time period. Romero's next film after Two Evil Eyes was the appalling King adaptation The Dark Half, and Argento's the lukewarm Trauma. So if one is knowledgeable of this it would be nothing but natural to approach this film tentatively. Fortunately, your fears will be calmed. The first half is titled The Facts in the Case of M. Valdemar, and is based on the Poe short story of the same name. Romero's adaptation is a fun and concise update. The storyline is engaging, easy to follow, well acted, well shot. I wouldn't say that it's going to blow your mind but it's certainly enjoyable. Argento's effort, as would be expected, was somewhat more complicated. In terms of quality, plot, and appearance. The Black Cat is, mainly, based on the well known Poe story of the same name. It also incorporates nods to other works by the author and the main character's last name is Usher. The story is somewhat muddled and confusing, but that really comes with the territory when Argento is concerned. There are also a few questionable set choices but overall I really found the second half very enjoyable as well. Overall I really think that Two Evil Eyes is a pretty damn enjoyable selection and probably more even than I've made it sound. It's better than its place in the filmographies of the respective directors would suggest as well.