PHENOMENA

Although I had been scared of the television commercial for SUSPIRIA in 1977, my real introduction to Dario Argento’s work was in 1985 when I saw CREEPERS. I remember seeing the commercial for a new horror film called CREEPERS, which was a stupid title at best, but I was intrigued by the images that accompanied the rather ominous and strange voice over. “From Dario Argento, the Master of Terror…” I had to see it…

Along with six strangers, I spent the afternoon of Friday, August 30, 1985 watching the first showing of Argento’s latest work while my parents and younger sister watched BACK TO THE FUTURE. I emerged from the theater a changed person. I remember being overwhelmed by this incredibly corny though undeniably nightmarish film that tells the story of a young girl who possesses an ability to communicate with insects. The camerawork, the editing, and most of the all the incredible beat of Iron Maiden’s FLASH OF THE BLADE set to Steadi-cam fluidity was breathtaking. It was a new kind of cinema that I had not seen before, and knew that I had to see more of. It would be more than two years before the full, uncut version known as PHENOMENA would find its way into my hands.

Largely regarded as Argento’s most personal and favorite film of his own filmography, PHENOMENA is also one of his weakest efforts from a plot standpoint. It is my favorite film of his for the aforementioned reasons. There is something undeniably entertaining about the poor dialog and bad dubbing that makes this film so much fun to watch, and as I would later learn these attributes have both been a staple in Italian horror films long before this film was made. Jennifer Connelly was chosen by Argento to play Jennifer Corvino because, in his words, “she’s beautiful! Tremendously beautiful!” Jennifer is a student in a foreign country (not unlike SUSPIRIA’s Suzy Banyon) who finds herself caught up in a murder, and enlists the aid of insects and entymologist Donald Pleasance to help find her friend’s killer. Argento wisely chose the breathtaking Swiss Alps as the film’s milieu and the results are wonderful. The film makes terrific use of the Steadi-cam and it never feels over-used.

PHENOMENA is by no means original, but it does contain an interesting plot point – the police use the help of insects to determine the exact time/date of a person’s death. I initially believed this to be nonsense, but I later heard of real-life cases where murders were solved with the aid of insects. Argento actually got the idea for the film while vacationing during the previous summer and hearing of such a case on the radio.

PHENOMENA has been released on DVD numerous times, and it is the Anchor Bay copy that I prefer most. The picture is terrific, though it is lacking anamorphic enhancement – something that should result in a reissue from the company. The film runs 110 minutes, almost half an hour longer than the 82-minute CREEPERS. I have a version on Japanese laserdisc that runs 116 minutes, but the missing six minutes do not adversely affect the film.

Watching PHENOMENA again makes me realize just how much I miss Daria Nicolodi, Argento’s long-time girlfriend who appeared in six consecutive films for Argento. She brought so much to his films, and her absence is deeply felt more than ever now. In PROFODO ROSSO, she played the wonderfully sweet journalist; in SUSPIRIA she emerges from an airport with no dialog; in INFERNO she’s the strange Elise Stallone Van Adler who keeps finding paint on her foot; in TENEBRE she’s Peter Neal’s secretary Anne; here in PHENOMENA she’s the sinister Frau Bruckner; and her last role was as Mira in OPERA, the only time (I think) that her actual voice was used. She’s been badly dubbed in all the other films.

Donald Pleasance is terrific as the entymologist. His presence in a horror film is always welcome – check him out in Gary Sherman’s DEATH LINE (1972) – he’s brilliant.

PHENOMENA is not Argento’s best – PROFONDO ROSSO and TENEBRE can vie for that title. It is, however, a terrifically entertaining murder mystery with some great set pieces and a driving score by some members of Goblin among others.

- Jonathan Stryker

WHAT YOU SAID [VIEW]

Scott W. Davis said

When people ask about my favorite Argento film, I say SUSPIRIA naturally. But to be honest, it's almost like when someone asks my favorite bands. If I leave out The Beatles, it stands out. But SUSPIRIA, like The Beatles is something whose influence is impossible to gauge within the medium. So, barring that, my favorite PHENOMENA. This has everything that makes Argento films great and it puzzles me when people get on its case. It's an amazing film, and no wonder Argento calls it his personal favorite.

42nd Street Freak said

I have to say I like this less than "Tenebre", "Suspiria" and "Inferno", "Bird" and most parts of "Opera". It does have some stunning set pieces and some great music (and use of music, esp during the sequence when she follows the fly to the house), but the overall idea seems just too fantastical for a film that is not a supernatural story. The aforementioned 'follwoing' of the fly is in itself rather silly as is her telepathic communication. It all comes across as just too damn whimsical. And although the vengeful Chimp was fun, again the idea of this Chimp (no matter how well trained) tracking down and then following the killer to leap at just the right time was again an act coated with too much fantastical whimsy.

Connelly's character was also rather unpleasent at times, coming across like a rather spoilt brat at times.

still a very good Argento though.

As for "Creepers"..Do any of you UK members remember the reviewer of this in (I suppose) "Film '85" when I think Michael Parkinson (not sure...) was guesting while Barry Norman was on Holiday or something? He walked out! He admitted he walked out on the film (nice, can we all walk out on our jobs when we don't like it and still get paid!!??) and then proceeded to slag it off something awful!

Joan barros said

One of the best horror movies ever made

werwulf said

This has got to be my favorite Argento movie. Reason one, Jennifer Conelly. If a guy say's he loves Phenomina, or as it was known in North America, Creepers, because of this or that, you know there lying. Jennifer Connlley was the main reason I watched this in the first place.
I forgot about it for years, untill it was released by Anchor Bay a few years ago in the Argento Collection. After watching it there were other reasons this movie appealed to me. The music, yes Iron Maiden and that whole scene was good, but there is the haunting theme song during the school visit to the Alps at the begining of the movie. It's that type of music that reaches down into you soul and leaves you with a creepy feeling that lasts, not only the whole movie, but a lifetime. When that music play's you know that something horred is going to happen, and the music exemplifies that feeling. There is also the fast paced instrumental when the fly lead Jenny to the murder scene. I think this is true of all Argento movies the Instrumentals are always very haunting, and this alone is what makes his films very eerie .
The Second reason is the Reptile boy, MAN, that scared the hell out of me for years. Nothing say's SCARY like a deformed kid with a knife.
My final reason is Donald Pleasence, a movie with old Don is sure to be a fun ride.
The only other thing that sticks out in my mind it the scene with the Head Misteress and the Bee. " OH, It's a bee, watch out it might bite you!". That is worth a laugh and a half. Dario Argento films, for me anyway, take some time to grow on you, but when they take, they TAKE.

whataboutbilly said

This may not be Argentos best work,but it is the number one contender for sure.Jennifer Connelly I was hooked on her and character absolutely mesmerized by her presence on screen and probably her best performance of her career excluding in this conversation is performance in The House of Sand and Fog that being her best dramatic role.The music is superb and helps the telling of the story.Donald Pleasence plays a with attempted Scottish accent thats fun to watch,and in typical Argento fashion this all leads to generally satisfyingly warped ending.