Trauma

An anorexic teenager sees her parents murdered and thinks the killer could be coming after her next, so it's up to a struggling addict to keep her safe.

Dario Argento's flair for over the top gory set pieces isn't as noticeable here and everything feels more calm and by the numbers, but every now and then, there's a shot or sequence that feels like old fashioned Argento and those moments are worth watching it for. It's also interesting to see a film of his that appears to use all live audio from the set and that takes place in America. It's jarring at first, but you get used to it.

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.

There are some good stuff here to be sure. Argento-fans tend to rate this way down on the scale and criticize it for being to "americanized". I don't agree. Sure, there is a certain sense of "half-baked Argento" here and there, but I don't find that to be a minus point. If anything, being made in the states, it has more convincing performances and the production values can not be faulted. It's look may seem aneamic if viewed beside "Suspiria" or something more of Argento's more gaudy creations, but I think that this is intentional. Cinematography it absolutely top-notch, conveying a suitably spooky atmosphere to many scenes. The story is fairly straight-forward for an Argento movie, but not standard fare, and if this had been made by a newcomer it would have been hailed as very solid suspenser indeed. The plot twists and turns even if the outcome isn't too much of a surprise. However, one thing really bothers me about "Trauma". The sfx-work by Tom Savini is truly awful. Some scenes, like the one in the elevator-shaft, start creepy enough but are ruined by the effects overall cheesiness (the falling head is only laughable instead of frightening). Shame on you, Savini! Bring on Sergio Stivalletti! Another thing that's not very good is Pino Donaggios score, which he seems to have composed in his sleep. It's not bad, it's just that it seems so routine. Compared to "Deep red" and a few others, this is not Argento at his best. But even Argento at half-speed is better and more interesting than most directors produce within a lifetime.

Dario Argento's "Trauma" of 1993 is definitely one of this great director's lesser films, but it is nevertheless a more than decent Thriller and better than most 90s Horror films. The 90s were a bad decade for Horror in general, and definitely also the worst decade in Dario Argento's career, with his doubtlessly worst movie "Il Fantasma Dell' Opera" in 1998. "Two Evil Eyes" of 1990 which he made with George A. Romero, was also a good Horror film, but not nearly as great as a film by Romero and Argento could have been. "Trauma" is definitely not comparable to Argento's masterpieces from the 70s and 80s. As far as I am considered, however, Argento is one of the greatest Horror directors of all-time, and films like "Suspiria", "Profondo Rosso" or "Phenomena" range high in my personal all-time favorite list. Even Argento's weaker films are usually above average, and "Trauma" is a more than decent film that easily outshines the majority of 90s Horror efforts.

Director Argento's daughter, then 18-year-old Asia Argento stars as Aura, a teenage Romanian girl who has escaped from a mental hospital where her parents sent her, supposedly to cure her anorexia. What Aura is really fleeing from, however, is a serial killer who only operates when it rains. Journalist David (Christopher Rydell) wants to help the girl...

Generally speaking, "Trauma" has everything decent Horror films need - it is stylishly filmed, atmospheric and very suspenseful from the beginning to the end. What Trauma sadly lacks, are many of the brilliant trademark Argento elements. Most of Argento's masterpieces from the 70s and 80s had brilliant scores by Progressive Rock band Goblin. "Trauma" unfortunately hasn't, which is one of the elements that I missed most. The change of scenery from Europe to the United States doesn't compliment Argento's style of film-making either. Then again, the camera work is, as usual, great, and even though the film is not quite as ultra-violent as some other Argento films, there is quite an amount of stylish, gory bloodshed. The performances are fine too (although not breathtaking), especially young Asia Argento convinces in her first leading role. The supporting cast contains Frederic Forest, Brad Dourif and Piper Laurie.

As mentioned above, "Trauma" is certainly not one of Argento's masterpieces. But even this ingenious filmmaker's lesser films are above average, and "Trauma" is definitely a more than decent 90s Giallo that Horror fans should not miss! Recommended!

(***1/2 out of *****)

This shot-in-Minnesota Argento mystery-thriller never gets the credit it deserves. So it's not as flashy and deliriously twisted as some of the Italian master's earlier work -- so what. It relies more on creating people you actually care about and, for this reason, I think it's one of his most character-driven films. Argento's real-life daughter (and European sex symbol) Asia Argento plays a young anorexic who witnesses the decapitation murder of her parents by a serial killer known as `The Head Hunter' who only kills when it's raining. With the help of a local TV news writer (Christopher Rydell), who is himself a recovering drug addict, she tries to solve the murders and reveal the killer's identity before he/she kills again. Although it's not quite as lavish as, say, Suspiria or Opera, there are some typically inventive touches that raise this above other early-‘90s slasher movies of its kind (for example, the killer uses a mechanical device with a razor-sharp wire to decapitate victims, and some heads continue to move and even speak for a few seconds after they've been cut off.) A great oddball cast (including eccentric character actor Brad Dourif, Frederic Forrest as the suspicious, unconventional doc, and Piper Laurie as Asia's batty, phony-medium mom) make it even more enjoyable -- but, honestly, this movie has one of the most unusual and seemingly out-of-place opening and closing credits sequences of any movie I've ever seen.

HIGHLIGHT: When the wire on the decapitation device snags on Dourif's necklace, the unruffled killer compensates by dragging him over to an elevator shaft and pushing his head under the descending elevator car.