This is a completely spoiler filled review.
Detective Anna Manni (Asia Argento) is on the trail of a psychotic murder/rapist Alfredo Grossi (Thomas Kretschmann) as she trails him to the Uffizi Gallery in Florens. Inside the gallery she succumbs to the influence of the Stendhal Syndrome. She literally enters the paintings, suffers severe hallucinations and also suffers from memory loss afterwords. Later, while in this desperate state Grossi manages to abduct her and physically abuse her as well as multiply raping her, leaving her completely shattered and beaten. But she manages to break loose and kill Grossi and dump him into the river.
At this point the film is only half way through it's two hour running time.
The ever so interesting Italian director of the macabre Dario Argento delves into whether or not art can be deadly. The Stendhal Syndrome is actually real, people suffering from it experience an overwhelming and totally consuming feeling of connectedness to the work of art before them. They literally plunge into the object, experience the fear, joy, anger or suffering it depicts. In short; it absorbs them.
In the film, the rapist/murderer Grossi somehow knows about Anna's weakness (never quite explained how) and uses it to his advantage, to be on top of her (so to speak) and ultimately degrade her for his own sick amusement. In the end Anna overcomes her weakness and then she can triumph over her abuser. But, as we later find out, she hasn't overcome her illness, she just finds another way of dealing with it, by substituting her self with her abuser.
Argento explores many subjects here. Beautiful works of art can have a negative side to it, as is well depicted here because of the Stendhal Syndrome. People can easily be exploited while under the influence and one can think of many similar scenarios to which Argento could be referring to. And in a twist one can think therefore that art can make people kill. So Argento's conclusion is that art can be deadly.
In the second half of the film Argento explores another psychological side; where Manni transforms herself into her abuser. Sort of a weird twist in a way of the Stockholm syndrome; where victims connect in a deep way with their tormentors. Also a transmission of guilt (which apparently many rape victims fall prey to) helps her to not have to face what she went through but also meaning that her inner torment will never be over. So probably it's better to connect with the monster than having to face the humiliation he put her through.
When Anna fully paints herself (circa 40 minutes into the film) it's like she's in some sort of trance, or high (like junkies), it's like she's embracing the syndrome and learning to control it more, even welcoming it. But I'll admit that this part is something I really don't get.
The Stendhal Syndrome is most definitely a detour in the Argento canon. The stylish cinematography, art and set designs and brutal violence are there (as always) but this is much more phsycologically oriented and character driven than his other films. And I'll admit that I completely love the way Argento indulges himself with everything; the slow pacing, the drastic change in the middle, the overly brutal (and experimental) violence. It reminds you of the two and half minute crane shot in Tenebrae, which was mostly pointless but great to look at.
Performances are mostly good. Although a 21 year old Asia isn't very believable as a seasoned detective she does display a good range of emotions as she is really put through a lot. Kretschmann makes for a very loathsome character and he looks menacing enough, pretty good job I'd say. Supporting actors range from decent to downright embarrassing, that's at least one thing Argento is consistent with.
The Stendhal Syndrome is an original, uncompromising and brutal viewing experience. Argento has created a very violent film with rich philosophy, psychological exploration and he has done it with style. That's my humble opinion.
P.S. The Italian dub version is superior to the English language dub, which is simply atrocious.
Detective Anna Manni (Asia Argento) is on the trail of a psychotic murder/rapist Alfredo Grossi (Thomas Kretschmann) as she trails him to the Uffizi Gallery in Florens. Inside the gallery she succumbs to the influence of the Stendhal Syndrome. She literally enters the paintings, suffers severe hallucinations and also suffers from memory loss afterwords. Later, while in this desperate state Grossi manages to abduct her and physically abuse her as well as multiply raping her, leaving her completely shattered and beaten. But she manages to break loose and kill Grossi and dump him into the river.
At this point the film is only half way through it's two hour running time.
The ever so interesting Italian director of the macabre Dario Argento delves into whether or not art can be deadly. The Stendhal Syndrome is actually real, people suffering from it experience an overwhelming and totally consuming feeling of connectedness to the work of art before them. They literally plunge into the object, experience the fear, joy, anger or suffering it depicts. In short; it absorbs them.
In the film, the rapist/murderer Grossi somehow knows about Anna's weakness (never quite explained how) and uses it to his advantage, to be on top of her (so to speak) and ultimately degrade her for his own sick amusement. In the end Anna overcomes her weakness and then she can triumph over her abuser. But, as we later find out, she hasn't overcome her illness, she just finds another way of dealing with it, by substituting her self with her abuser.
Argento explores many subjects here. Beautiful works of art can have a negative side to it, as is well depicted here because of the Stendhal Syndrome. People can easily be exploited while under the influence and one can think of many similar scenarios to which Argento could be referring to. And in a twist one can think therefore that art can make people kill. So Argento's conclusion is that art can be deadly.
In the second half of the film Argento explores another psychological side; where Manni transforms herself into her abuser. Sort of a weird twist in a way of the Stockholm syndrome; where victims connect in a deep way with their tormentors. Also a transmission of guilt (which apparently many rape victims fall prey to) helps her to not have to face what she went through but also meaning that her inner torment will never be over. So probably it's better to connect with the monster than having to face the humiliation he put her through.
When Anna fully paints herself (circa 40 minutes into the film) it's like she's in some sort of trance, or high (like junkies), it's like she's embracing the syndrome and learning to control it more, even welcoming it. But I'll admit that this part is something I really don't get.
The Stendhal Syndrome is most definitely a detour in the Argento canon. The stylish cinematography, art and set designs and brutal violence are there (as always) but this is much more phsycologically oriented and character driven than his other films. And I'll admit that I completely love the way Argento indulges himself with everything; the slow pacing, the drastic change in the middle, the overly brutal (and experimental) violence. It reminds you of the two and half minute crane shot in Tenebrae, which was mostly pointless but great to look at.
Performances are mostly good. Although a 21 year old Asia isn't very believable as a seasoned detective she does display a good range of emotions as she is really put through a lot. Kretschmann makes for a very loathsome character and he looks menacing enough, pretty good job I'd say. Supporting actors range from decent to downright embarrassing, that's at least one thing Argento is consistent with.
The Stendhal Syndrome is an original, uncompromising and brutal viewing experience. Argento has created a very violent film with rich philosophy, psychological exploration and he has done it with style. That's my humble opinion.
P.S. The Italian dub version is superior to the English language dub, which is simply atrocious.