4 Mouches de velours gris

The most elusive of Argento's films has become more legendary than most simply because of the fact that it's been nearly unobtainable in a decent version. Most have had to do with very-below average bootlegs that render some of the film nearly unwatchable, and therefore pretty hard to judge. Recently an above average bootleg was released in terms of visual quality and a lot of scenes come to life and one is finally in a position to judge the film as a whole.

Story wise, Four Flies on Grey Velvet doesn't win any awards but it's a good set up for a thriller. Drummer Roberto Tobias (Michael Brandon) accidentally kills a stalker and is photographed while doing so. The masked fiend who snapped the shots starts threatening Roberto, and his wife (Mimsy Farmer) is very worried for her husband. As it turns out, the man who Roberto thinks he killed is very much alive, but not for long. Roberto hires a gay private investigator to find out the truth. Say more and I've ruined everything for the viewer.

If you look at Argento's work as a whole, Four Flies fits in very nicely. You can clearly see a young Argento experimenting with visual tricks that he would later do even better in later films. Story wise, the film is similar to some of his later works and even a bit of a rehash of his earlier ones. Some fundamental psychology concerning repressed guilt and anger (a very recurring theme in Argento's work) and once again the central character is an artist who's thrust into a dangerous world of lunatics and murder. This would be perfected in his next thriller Deep Red.

It's just that the film doesn't have enough material to keep the viewer on the edge of his seat. It drags on too long, many scenes (and not to mention some characters) are almost completely pointless. What's Bud Spencer doing here? He serves no narrative purpose but I'll admit it's fun to see the guy.

Plot wise, this is slim pickens. Argento and fellow writers were lazy this time around. The film has a dynamic start and immediately you're interested. If you've seen The Bird with the Crystal Plumage, my guess is you'll have the culprit here figured out before half time. Plus, there aren't many red herrings here and a lack of suspects make the guess that much easier.

But on to the good things. Certain sequences are very impressive. Brandon's encounter with his stalker in the beginning is beautifully filmed and stylish as hell. A murder that occurs in a park is masterfully realised. Very suspenseful, dreamlike and stylish. Not that dissimilar to Stefania Casini's chase sequence in Suspiria. Another murder sequence that sets up the film's title is also quite impressive. Last but not least the knockout ending (which can finally be appreciated now that there's a decent version available) deserves all the hype it's already gotten. An Argento film is never a complete dud (not even Phantom), it always has some things going for it.

Special nod must also go to Argento for taking things up a nodge and taking some risks. Feeling that the Giallo genre was drying up, Argento comes up with unique ways to keep audiences interested. That special camera, for instance, that captures the last image seen by a deceased person. Well, I've never heard of it and it's quite an idea. You gotta give Argento props for trying new things, even though they don't always work out.

It must be said that Argento should have gone with a different leading man. Michael Brandon is remarkably lifeless in almost every scene he's in. Mimsy Farmer fares better as Brandon's wife and that gay detective provides a few chuckles. That said, most of the comedy here is pretty silly and a little distracting.

But, as said above, this is Argento experimenting with visuals, editing and writing and his later films were better realised. I doubt this film will appeal to very many people but for fans of Argento there's plenty here to savour and enjoy.

"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.

Deluxe giallo from writer-director Dario Argento, with a presentation so stylish it threatens to overwhelm the plot. Dedicated husband and drummer for a rock band angrily confronts a mysterious man who's been following him; they scuffle and the stranger ends up stabbed with his own knife. No one is around to help the shaken musician, but there is one witness: a person in costume with a camera. This isn't a blackmailer--they don't want money--but the musician is quickly taunted with photos and notes...and soon, the people closest to him start dropping like flies. Argento shows an uncanny grasp of character here, and his roster of victims and suspects is delicious (there's also a scripture-quoting con-man who acts as a lookout, a terrified postman afraid of delivering the mail and a gay gumshoe hired by the protagonist who hasn't solved one case in his last 87!). Argento is a cinematic madman; his screenplay might not hold up under close scrutiny, but it's hard to nitpick with the small details when the end results are this tantalizing. *** from ****

Roberto Tobias is the drummer in a rock group. He has become increasingly stressed as a strange man has been following him. Eventually he confronts the man, who pulls a knife on him! In the scuffle that follows the man is stabbed and dies. At this point Roberto realises that not only is there a witness, in a mask, who has taken pictures through a telephoto lens. Later the masked witness confronts him and tells him that they haven't finished with him. No money has been demanded but Roberto assumes it is a prelude to blackmail. Then people around him start being murdered. Will Roberto be able to find the identity of his tormentor before it is too late?

On the one hand this is a mystery film but being from director Dario Argento it is something more... something weirder. As one would expect from him there are plenty of disturbing moments; these are made even better by the stylish way in which it is filmed and the music used. I had expected weirdness but what I didn't expect, and was a pleasant surprise, was the level of humour. When the killer is revealed it isn't a complete surprise but that said it was neither too obvious. Overall a fun film that I'd certainly recommend to fans of Argento; I need to watch more.

"4 mosche di velluto grigio" aka. "Four Flies on Grey Velvet" is the last film in Dario Argento's animal trilogy, which also includes the brilliant "Bird With The Crystal Plumage" (1970) and the very stylish "Cat o' Nine Tails" (1971). This is certainly Argento's oddest film, and also by far the least widely known of his Gialli. While certainly not one of Argento's masterpieces, this strange, and highly interesting flick is nonetheless more than worth tracking down, for a variety of reasons.

When rock drummer Roberto (Michael Brandon) wants to take a guy to task who has been following him for days, the guy threatens him with a knife, and in the subsequent scuffle, Roberto accidentally stabs the guy to death. The incident is photographed by a masked psychopath, who subsequently begins to stalk Roberto and people close to him... Sounds like the beginning of a typical Giallo, but, apart from the typical formula of a mystery killer, murders from the killer's perspective, etc., this film differs from Argento's other Gialli in a variety of aspects. This is partly a very comedic Giallo, that, in some parts even features absurd slapstick humor. Several characters are purely satirical, such as a (very) gay private eye, or a sarcastic writer who likes narrating bizarre short stories. Another supporting role is played by none other than the ass-kicking cult actor/comedian Bud Spencer! The superb score by maestro Ennio Morricone is one more reason to watch this film. Dario Argento is one of my all-time favorite directors, and while "For Flies On Grey Velvet" is certainly not one of his highlights, it is definitely a weird and highly recommendable film that my fellow Italian Horror fans should not miss!