Occhi di cristallo

Eyes of Crystal is certainly a very welcome film. Good Giallo's are few and far between these days, and this is easily the best that I've seen since 2001's Sleepless, which in turn is the best since Argento made the fantastic 'Opera' back in 1987. The film isn't a lot like the Giallo's of the seventies (the golden period of the style), as the picture is largely glossy and clear and overall, the film is more character orientated than the murder fuelled classic Giallo structure; in fact, I'd say that this film is more like the hit thriller Seven than any film by Dario Argento or Sergio Martino. The plot has two main areas; firstly, it's a film about a police investigation into a series of murders, and secondly it's the story of the investigating officer wrestling with his conscience as he tries to solve the crimes. The plot starts off properly as a brutal triple murder is committed, and from there we follow the investigation into the murder, and see how the police pick up small clues to try and track the killer.

Director Eros Puglielli injects his film with a slick sense of style as he directs the action through a number of different angles. The film features many scenes that really are beautiful; the favourite of mine being the sequence that sees the police enter a murder scene in the dark with torches. The music is less frantic than that seen in previous Giallo films, and tends to be of a more searing nature, which helps to elevate the film over and above the story of murder and policemen that it is. I have to say that the music does go over the top at times, but generally it fits the scene. The main problem with this film, however, stems from the plot. The murders are grisly and gruesome, but it becomes too obvious where it's all going too quickly, and the reason behind the killings is hardly original, and since it's also rather silly; it almost undoes all the hard work that has gone into the film up until the final twist is revealed. Giallo's have never been known for completely making sense and staying away from silly story lines - but Eyes of Crystal tries to go over and above the common tradition, and doesn't completely succeed. Even so, this is a quality thriller with good acting and fine direction which, when combined with the fact that this is the best Giallo in ages, means that Eyes of Crystal is well worth seeing.

Most effective, and if this Italian thriller is a little more C.S.I. than Argento, maybe that is no bad thing these days! Storming and very scary start with the momentum not really letting up till about halfway through. For me there is just a little too much soul searching from the otherwise most effective lead, Luigi lo Cascio. This is further complicated by his developing relationship with the also most effective, Bulgarian actress, with the catchy name of, Desislava Tenekedjieva. It is only a slight carp but I felt that at a crucial stage this pause for thought and sex didn't actually help the film. Anyway it is soon back to the very warped and hard edged action and I guess we then begin to wish maybe we had stayed in the bedroom. A very dark and violent film with, if not gushing gore, plenty of gruesome and bloody sights as seemingly random folk get cut about and carried away.

Very troubled Inspector Giacomo Amaldi tries to find an elusive killer who enjoys chopping parts of his victims and replacing their limbs with a similar part from a Victorian doll.He investigates triple homicide with his partner.It seems that the killer may be taxidermist.Someone is stalking an attractive anthropology student Lucia Jimenez.It's up to Giacomo to protect her too.Very stylish,gloomy and bloody thriller made by Eros Puglielli.The script by Dario Argento regular Franco Ferrini is obviously influenced by David Fincher's "Se7en",but "Eyes of the Crystal" has a stylish look of giallo.The film is fast-paced and incredibly tense.The cinematography is splendid and there are some gruesome murder scenes.The climax is slightly disappointing,though.8 body parts out of 10.

Everything has been said and written about the giallo sub-genre, initiated by Mario Bava at the end of the 60s, polished to near perfection by Dario Argento in the 70s while generating countless attempts at this specific kind of thriller, most of them Italian. It is generally admitted that the last great giallo was Argento's 1987 Opera, with purists discarding it in favour of 1982 Tenebre, as it is bitterly regretted that the Italian master's production since then was a sad slide into the morass of self copycatting, resulting in movies varying from disappointing (Nonhasonno, Il Sindrome di Stendhal) to terrible (Trauma, Giallo), deprived of any of the visual brilliance his earlier work displayed.

Various attempts have been made at revamping the giallo form for contemporary film-goers, most of them ludicrous (German Masks, French Amer, to name but two). To this day, none can even remotely pass for a good giallo, the formula having been preempted by serial killers in the 90s and enshrined in amber ever since. It is therefore a very pleasant surprise to discover Eros Puglieli's movie, who achieves a lot by virtue of a rather good screenplay, solid actors, an interesting choice of music and a visual parti-pris which mostly works in spite of a few weaknesses.

Inspector Amaldi (Luigi Lo Cascio, a little know but intense actor) is a conflicted man and a talented police officer with a background in criminal psychology. He was victim of a gruesome experience in his youth and finds himself confronted to a twisted killer with a keen interest in taxidermy, a niche discipline that he pushes a bit too far for the well-being of a sizable portion of the cast. Meeting a good looking student complaining about a stalker, he has to dig deep into his abilities and emotions to find the killer before he finds her.

All the codes of giallo are respected in an otherwise contemporary feature: a vicious killer with a traumatic past killing his victims with sharp weapons and collecting trophies; coded enigmas announcing the next murder; obvious red herrings; a scary antique doll loaded with sexual implications; an oppressive soundtrack; "improbable when you eliminate the impossible" killer identity. Even the mandatory killer-falling-to his- death is delivered, in a rather satisfying scene. It could be said in fact that the only non-giallo component is a tight screenplay, as the genre is known to be prone to plot holes the size of a wound by ax.

Don't pay too much attention to the shaky initial chase: the rest of the movie is much better filmed, with some inspired moments like a conversation between two characters cleverly filmed through a variety of visual obstacles. Evidently, the murder set pieces are what draws one to a giallo in the first place; without being overly gory they nevertheless reach a decent level of nastiness. Yellow is definitely an Italian colour. Lol

When a young couple and a peeper are killed in the field with sadism, Inspector Amaldi (Luigi Lo Cascio) and his partner Freese (José Ángel Egido) unsuccessfully follow the leads trying to track the criminal. Meanwhile, the college student Giuditta (Lucía Jimenéz) is being stalked and goes to the precinct, where she is attended by Amaldi, and immediately they feel a great attraction for each other. When another woman is murdered, Amaldi and Freese realize that they are chasing a serial killer. Amaldi visits Professor Civita (Eusebio Poncela), trying to find the meaning of three leaves found in the crime scene. Amaldi, who battles with his violent temper, tries to put the clues together and to avoid the next murder of the unknown psychopath.

The story of the dark thriller "Occhi di Cristallo" recalls "Seven", "The Silence of the Lambs", "Saw" and "Resurrection", among many others rip-offs. But the most impressive in this good movie is its style, very similar to Dario Argento. The director Eros Puglielli uses a beautiful and dark cinematography, an excellent camera work, a great soundtrack and achieves great performances of the cast in a reasonable screenplay. Once there are very few characters, it is not difficult to disclose the killer, but his motives are silly. My vote is seven.

Title (Brazil): "Olhos Mortais" ("Deadly Eyes")