By L. Andrew Cooper
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Commanding a cult following between horror lovers, Italian movie director Dario Argento is healthier recognized for his paintings in heavily similar genres, the crime mystery and supernatural horror, in addition to his impact on smooth horror and slasher video clips. In his 4 many years of filmmaking, Argento has displayed a dedication to innovation, from his directorial debut with 1970's suspense mystery The fowl with the Crystal Plumage to 2009's Giallo.
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Additional resources for Dario Argento
Arno tells the killer and the audience to never mind about this last bit of XYY exposition—like the psychiatrist’s diagnosis at the end of Bird, Casoni’s explanation of his psychological motivation is irrelevant, and that irrelevance results in the dismissal of the entire XYY plotline. What finally leads Arno to the killer is Lori’s kidnapping, not some convoluted plot about aberrant sexual characteristics, and his niece is all Arno and the audience should care about. Infuriated by Casoni’s taunting claim about killing Lori, Arno pushes him down an elevator shaft.
In the shot of the band rehearsal, the fly appears between the cymbals in the foreground, a potential victim of Roberto in the background. In the shot of the car’s interior, Roberto is in the foreground, a potential victim of out-of-focus Carlo, whom the mirror places in the background. The camera tracks in toward the mirror, and then it decisively racks focus so that Carlo is now in the foreground of the image (figure 5). The scene cuts back to the rehearsal, where Roberto crushes the foregrounded fly and smiles (figure 6).
The scene cuts back to the rehearsal, where Roberto crushes the foregrounded fly and smiles (figure 6). The fly shifts from being a metaphor for Roberto as a potential victim to being a metaphor for Carlo as a potential victim, and the shift reflects Roberto’s desire to turn the tables on his pursuer, which he does in the next scene. He follows Carlo to a seemingly empty music hall, confronts him, and in a brief struggle, seems to kill him. The killing of the fly represents the fulfillment of Roberto’s wish to slay his stalker, a wish that he seems to fulfill in reality.