Trauma (1993) by Dario Argento

Director: Dario Argento

Year: 1993

Country: Italy

Alternate Titles: N/A

Genre: Giallo

Plot:

After failing a suicide attempt, a woman escapes from a clinic and returns to the man who had initially saved her, which leads them to believe that a psychotic killer is targeting her and others related to a dark incident from her past, forcing them to discover the killer’s secret to stop him.

Review:

There was some good stuff here that really helped it out. One of the better areas in the film is that there's a series of the usual artistic flair that Argento is known for that shines through, creating brief moments of breathtaking stylistic flourish. Perhaps the most novel one is a scene where the heroine stumbles across a murder scene in the middle of the woods during a heavy rainstorm, and then turns to see the killer making off from the scene carrying two severed heads in front of their face, leading to a round of hysterical screaming, as well as forming the basis for the rest of the film to solve. There's more in that woodland-setting scene, as there's an incredibly fun séance witnessed just beforehand that makes it all the better with the visuals and sound gags, which really just make the whole scene a stand-out. One of the better ones is where a little kid can't sleep because a woman keeps staring at him from a window in the house across the way, unaware that the eyes are contained in a decapitated head. Also, a scene where the freakish sight of a freshly decapitated head utters a few essential words with its death rattle, which overall are all vintage Argento setpieces.

What helps to make this all the more enjoyable is a pleasingly engaging storyline with more heart to it than expected. The central setup involving the race to find the girl and offer her some genuine help, even without knowing the killer is after her, which soon brings them into contact with the savage killer going around attempting to commit a crime spree. They set up the film with an engaging central storyline that offers plenty to like about it. With the first half of this one devoted to their burgeoning romance after meeting up with each other and getting to understand her backstory that made her the way she is, this allows for a nice series of scenes offering the two getting to know each other and starting to confront her diagnosis. When it becomes obvious that she’s in danger with the series of murders striking on the outskirts of their relationship, it creates a sympathetic environment where the sensitivity of their overarching connection gives the film not just a solid emotional hook but also sets up the later sequences of the killer taking everyone out to feel that much more impact.

This is all rather fun and manages to provide some of the best scenes in the film as well. The opening stalking scene in the clinic gets this off to a great start, while the subsequent attack during the seance at the mother’s house during the driving rain offers some pretty striking imagery that uses the killer's point-of-view extremely effectively while also keeping the identity hidden. Another excellent scene is the initial escape from the hospital during a strike by the killer, leading to general pandemonium when the victims are discovered among the residents, and the stalking by the killer makes for plenty of great times. Even more fun is at the end, with the confrontation in the basement, which is quite entertaining, from the revelation about the kills, which is handled by an incredibly well-done flashback scene that certainly scores for how moody and original it is, to the suspense found within, to the fun of it all, being a great way to end off the film. The film also manages to work in one of the greatest weapons in the genre, the mechanical noose that the killer uses. Not only is it an ingenious device, but it looks realistic and performs well, which leads to plenty of great kills where the victims are decapitated in pretty gruesome ways. These provide the film's best qualities.

There were a couple of problems with this one. One of the bigger flaws is the film's series of scenes that don't really offer up much in the way of suspense, making the film longer than it should be. This one has plenty of scenes involving this, mainly the subplot with the neighbor's child. There’s nothing worthwhile about it as it adds nothing to the film beyond the one key scene with the eyes, but the other scenes don't offer up anything, and the one attempt at suspense, the walk-through of the house after the lizard, is just utterly terrible and has no value to the film. The other flaw is the fact that, as well as the previously-mentioned kid scenes, is that the opening portions of the film concentrate on the numerous attempts to help out with the disease. While important for establishing character, these do nothing for establishing the pace of the film, offer up nothing to help solve the killers' identity, and are just part of the attempt to make the film longer than it should be. While not at all detrimental to the film, and is barely noticeable at all, is the film’s lack of overt gore and bloodshed, being really toned down compared to his other efforts, but this isn't anything to hold the film down at all, and is barely noticeable at all in most areas.

Overview: ****/5

With some good stuff here and a couple of minor, mild flaws as well, it has a lot going for it and is better than expected entry as it’s held up enough over those few factors. Really give it a shot if you’re an open-minded Argento fan or into these kinds of films, while those looking for more of Argento’s Italian-style should stick to those films.

This review is part of our ongoing series of reviews for Italian Horror Month, every November on the site: