the idea of finding the murderer by analyzing the last image remained on victim`s retina is the absolute pleasure of the movie. Dario Argento`s sense of humor is at its perfect form and the way he`s handling the killing scenes looks like he`s playing with cinema wisely: genuinely atmospheric, playfully surreal and in one case(killing the cousin) effectively minimal.
Argento's lost gem with all the elements that make his films great - beautiful architecture, inventive camerawork and above all a surreal, overwhelming sense of doom. A little more linear for him (although its looser and weirder than the other entries in the "animal trilogy") but immensely entertaining.
Like in other films, Argento follows a logic of atmosphere, light and shadow but not especially a logic of narration. There are some great sequences, e.g. the main title as well as - underlined by Ennio Morricone's score with integrated body sounds (breath) as element of tension - the park and the living room sequences. Franco di Giacomo's moving camera through rooms, corridors and staircases is also intriguing. ...
The whole scene of the maid's murder in the park is a little jewel of mise-en-scene. I've always thought that Dario Argento was no more than a good Mario Bava follower but I must admit now that his movies deserve to be seen several times in order to truly appreciate their value. Mea culpa. Highly recommended.
A solid albeit a tad underwhelming giallo that sits proubly among the maestro´s better movies. It´s nowhere the dizzying heights of Deep Red or Tenebre but it is clearly better than anything he´s done in the last 20 years. So if you like vintage Argento make sure not to miss this one.