Berberian Sound Studio

There is a pressure associated with watching a film considered one of the best of its year; there is of course pressure on the film to live up to the hype but when it comes to smaller films such as this one then there is a certain amount of pressure on the viewer to be part of the people who "get it" and not one of the dullards who should just stick to blockbusters. Of course this is message board talk but it exists in the mind too and for sure I came to this film wanting to come out praising it. Indeed I felt this to the point that even as it ended I felt like I should have enjoyed it more and thus started to rationalize myself towards that position, but it isn't the case because while I appreciated aspects of this film, generally I found it pretty dull and lacking a sharp edge.

The plot is that a British sound engineer comes to Italy for a project and finds himself doing ADR and Foley for a film containing a lot of graphic violence; as he works he finds his grip on his sense slipping, with his days spent not understanding what is being said around him and acting out violent acts on vegetables while watching women be brutalized on film over and over again. The concept I am fine with and I liked the ideas in the plot of exposure to this material having an impact and I even enjoyed the slow burn of the horror, but it slow burnt its whole way to the end and really didn't deliver too much. It has some nice touches as the plot develops but the "inside a movie" thing feels trite and isn't developed enough here to stand up on its own. I was drawn into the built but then surprised by how little delivery there was at the other end.

Of course the one thing the film does great is the sound engineering. As my partner was studying upstairs, I watched this through a very good set of headphones and it added a lot to the film to be so immersed in the audio aspect. The violence of the sounds and the persistence of them is very engaging and involving, just as it is for the main character, although the screaming gets very old very quickly. The decision to have the majority of the dialogue in Italian without subtitles was an interesting one which cuts both ways; on one hand it disorientates the viewer as it does the main character, but then it does put more pressure on the feel of the film – which then doesn't deliver. The cast are solid, with Jones in good form throughout.

I did want to like it more than I did but while the sound and the slow burn pacing is engaging, it goes on too long and doesn't have enough in the way of development of delivery to really payoff at the end. Trust me, I wanted to go with the majority on this and be seen as one of the cool kids, but it really only worked for me up to a point.

I recall watching this in the cinema and enjoying it but a re-watch seemed to catch me unawares. Maybe it was the mood I was in but this time instead of being an interesting backroom take on my beloved gallo films it seemed a much more sinister affair. How could I not have noticed the first time how unpleasant it is, how nasty everyone seems to be and how alienating it all is? A powerful film, set almost exclusively in a sound studio, purportedly in Italy, though actually the nearby Three Mills Island set up. Almost everything I remember finding intriguing, this time took on a much more malevolent tone. The screaming ladies who can't get the right scream, the smashing of the vegetables, the switching between languages, the unfriendly 'friendly' intimacies, and the undertones of there being something rotten (apart from the decaying vegetables) within Italian society, at the time. A unique film but an uncomfortable watch.

First and foremost it has to be recognised that the design and execution of the sound sequences in this film are outstanding. It's almost worth ninety minutes of your time just to listen to this film, the sound design is so good. It's also pretty satisfying if you have a fetish for old sound equipment – all those reel-to-reel tape decks and retro-futuristic signal generators and so on. From that point of view and from the sound perspective this film was absolutely up my street. Toby Jones as the lead could not be faulted and I would happily watch anything with him in it.

So what was wrong with it? Well it was sub-Lynchian without ever coming near to the pleasures and terrors of an actual David Lynch film. You can almost hear the director straining to hit the tone of a Lynch film and falling badly short every time. The script was at times very amusing but mostly it was just plain trivial or superficial. The story was incomprehensible, again not in a Lynch fashion where the very incomprehensibility adds to the mystery but in the fashion of someone striving for portentous but merely achieving pretentious.

It's worth seeing/hearing for the fantastic design but as a film it fails to engage and it fails to be half as clever as it thinks it is.

This film is a pleasant homage to Italian giallo and to the under-recognized art of sound editing. A bit like Hélène Cattet & Bruno Forzani's "Amer" did, but in a more conventional, more "easy watching" way.

It begins as an amusing comedy with a cast of characters gently mocking the 70's Italian machismo. The very exciting central concept of the film is to deal with graphical horror without showing any real violence on the screen. This counter-fashion idea clearly marks its distance from the recent escalation in the graphic horror genre cinema, which I find honorable.

The imagination of the spectator is highly put to use compared to these days' standards. A truly outstanding atmosphere is obtained thanks to a really terrific sound editing. The atmosphere moves from light fun to disturbing fantasy with elegance.

But near the end, the story lost me. I eventually didn't understand where the film wanted take me. For that disappointing feeling, I don't rate it very high, but this movie is definitely a good piece of artwork and is more interesting than most of what is to be seen nowadays.

Having watched "In Fabric" from this director, before this previous (and more famous) incursion in the horror genre, it's easy to see a pattern: both in the homage to the greatest period of Italian horror films and in a kind of surrealistic and experimental narration (even more prominent in this film). But, in the same way that happened to me with "In Fabric", it doesn't completely reach me, even when I find the proposition incredibly attractive. Both movies are beautiful and kind of mesmerising, but the director also tends to feel self-absorbed in his own creation at times and lose focus. But it's a very different film and a love letter to the art of making movies.