«The Stendhal Syndrome» (1996)

 

A decent thriller, which lacks the magic of «Profondo Rosso» and «Suspiria»

 

From his birth Dario Argento ate, slept and breathed cinema. He started out as a film critic and when the time was right, he made his first film («The Bird With The Crystal Plumage»). His father (famous producer Salvatore Argento) produced the debut motion picture, and its success launched Dario’s career. Asia Argento started out as an extra in the films of Dario’s friends and when the time was right she took leading roles in her father’s pictures. What can we say about their second joint picture («The Stendhal Syndrome»)?

 Detective Anna Mani travels to Florence in order to get the leads on whereabouts of a notorious serial killer and rapist. While visiting the Uffizi Gallery she is overwhelmed by a painting and passes out. The killer uses it and subjects Anna to a bizarre psychosexual torture and, strangely, doesn’t kill her. Traumatized Anna is granted medical leave, but she gains the upper hand when the maniac strikes again. The murderer is presumed dead, nevertheless the killing spree continues. Who is the new culprit?

The art projects, among other things, the fears, desires and impulses, including the darkest, of the author. The spectator often projects his own experiences on the viewed art object and, from time to time, he becomes really overwhelmed by it. One of the most extreme viewer’s conditions is called the Stendhal syndrome (when the person can even faint or hallucinate when exposed to artwork). In addition, certain serial killers saw themselves as artists and their «art» inspired new murderers.

 As in his earlier films, Dario Argents explores the theme of repressed victim’s memories, which are triggered by traumatic experience. Still, he leaves a lot of question marks. Was Anna abused as a child? Did Anna run away from her hometown or she just wanted to start the police career in a bigger city. The answer is up to the viewers’ projections. Anna’s profession leads to another interesting point.

 Police work, generally, is considered masculine and the female police officers are often seen as males with long hair (to pit it mildly). In the beginning of the film, Anna looks like as a stereotypical defenseless girl and the colleagues treat her as a little sister. After the traumatic event she tries to project aggressive masculinity, but it doesn’t bring the desired result. So, she assumes the personality of a blonde to full the authorities, romantic interests and future attackers.

 Still, the main question is – was the Director able to fully execute this interesting material? The answer is both yes and no. Asia Argento convincingly portrayed a tormented woman, the maniac will give violent chills to the viewer and the plot will surprise with few interesting turns. Nevertheless, the film lacks the flare and magic of earlier Dario Argento’s art. It doesn’t fully captivate the viewer; it doesn’t have memorable music; it doesn’t play sophisticated games with a viewer’s mind, and it doesn’t provide you with some truly memorable scenes.

Summarizing, «The Stendhal Syndrome» is a decent, but not so memorable thriller. If you want to see the real Dario Argento, then watch «Profondo Rosso».