Anyone else out there had the 'pleasure' [I suppose one could call it that, anyway] of viewing this lesser-known Italian oddity?
Directed by the relatively unknown Marcello Ariprandi, it stars John Philip Law and Natalie Delon [swoon] as the parents of Martino, a troubled 12-year-old obsessed with [and therefore haunted by] his 'imaginary friend' Luka: Law, who didn't appear to be particularly fond of the picture, always said it was made [about three years too late, mind you] to cash in on the success of DON'T LOOK NOW, but to me, its closest relatives actually appear to be THE OMEN [which is quite likely, seeing as it was released the same year] and THE OTHER, Robert Mulligan & Tom Tryon's classic 1972 tale of haunting and possession in the 1930s Midwest. Only in this case, the setting is the altogether hazier, more languid world of [then] present-day suburban Veneto, and the family far more dysfunctional than in either.
Granted, it is quite creepy in parts, with self-propelling swings, unexplained bathtime deathings, mysterious laughs, scuttlings, hands reaching from behind curtains and plenty of eerie child-song in what English comedian Suzy [Eddie] Izzard would refer to as the "I died tragically" style: however, for all that, its only real strength lies in its ambiguity [ie as to whether there is something genuinely supernatural happening or not] and by the time we finally reach the conclusion [at over 100 minutes, it drags a bit and then some] there's every chance you'll have lost interest in that as well. I know I did.
In fact, with absolutely no suspense, atmosphere or gore [the three things that define most great European horror] and an approach that's slow-burning at best, there's very little to draw us in at all bar the aforementioned mystery, which quickly renders the entire central conceit incredibly wearing. It could all be in the troubled mind of the mother [a closet lesbian, who freely admits that she did actually lose a child named Luka before giving birth to Martino and his sisters] it could be the boy himself, pulling a craftily prosaic murderous 'fast one' over his effete, drug-dependent Ma & Pa [which of course would also make it a giallo] it might have something to do with "dodgy" kids' entertainer Joseph Cotten [whose deathmask birthday party antics are about the only really disturbing thing in it] and there's yet another potential explanation involving Law and his unseen [but periodically referenced] 'indiscretions', but though all are possible, one is ultimately left with the thought that for this director, the red herrings are more important than the answers themselves. And, having watched it to the end, there's still no guarantee that you'll be any the wiser. Or indeed give two hoots.
In addition, the principal protagonist is played by the most annoying child actor this side of Giovanni Frezza in THE HOUSE BY THE CEMETERY, and the sisters aren't much better either- so if you're the easily irritated sort, be prepared. Sure, full marks to the studio for trying something different, but in the end, all one can really do is file it alongside EYES BEHIND THE WALL and THE WEEKEND MURDERS under the heading of 'nice idea, shame about the execution' before musing on the contention that indeed, a little more 'execution' of either kind wouldn't have come amiss. And while it was good to finally see it, especially given that I downloaded it about a decade ago, I doubt very much whether I'll be watching it again. Much like the titular whisper, this is something that should maybe stay in the dark.
Directed by the relatively unknown Marcello Ariprandi, it stars John Philip Law and Natalie Delon [swoon] as the parents of Martino, a troubled 12-year-old obsessed with [and therefore haunted by] his 'imaginary friend' Luka: Law, who didn't appear to be particularly fond of the picture, always said it was made [about three years too late, mind you] to cash in on the success of DON'T LOOK NOW, but to me, its closest relatives actually appear to be THE OMEN [which is quite likely, seeing as it was released the same year] and THE OTHER, Robert Mulligan & Tom Tryon's classic 1972 tale of haunting and possession in the 1930s Midwest. Only in this case, the setting is the altogether hazier, more languid world of [then] present-day suburban Veneto, and the family far more dysfunctional than in either.
Granted, it is quite creepy in parts, with self-propelling swings, unexplained bathtime deathings, mysterious laughs, scuttlings, hands reaching from behind curtains and plenty of eerie child-song in what English comedian Suzy [Eddie] Izzard would refer to as the "I died tragically" style: however, for all that, its only real strength lies in its ambiguity [ie as to whether there is something genuinely supernatural happening or not] and by the time we finally reach the conclusion [at over 100 minutes, it drags a bit and then some] there's every chance you'll have lost interest in that as well. I know I did.
In fact, with absolutely no suspense, atmosphere or gore [the three things that define most great European horror] and an approach that's slow-burning at best, there's very little to draw us in at all bar the aforementioned mystery, which quickly renders the entire central conceit incredibly wearing. It could all be in the troubled mind of the mother [a closet lesbian, who freely admits that she did actually lose a child named Luka before giving birth to Martino and his sisters] it could be the boy himself, pulling a craftily prosaic murderous 'fast one' over his effete, drug-dependent Ma & Pa [which of course would also make it a giallo] it might have something to do with "dodgy" kids' entertainer Joseph Cotten [whose deathmask birthday party antics are about the only really disturbing thing in it] and there's yet another potential explanation involving Law and his unseen [but periodically referenced] 'indiscretions', but though all are possible, one is ultimately left with the thought that for this director, the red herrings are more important than the answers themselves. And, having watched it to the end, there's still no guarantee that you'll be any the wiser. Or indeed give two hoots.
In addition, the principal protagonist is played by the most annoying child actor this side of Giovanni Frezza in THE HOUSE BY THE CEMETERY, and the sisters aren't much better either- so if you're the easily irritated sort, be prepared. Sure, full marks to the studio for trying something different, but in the end, all one can really do is file it alongside EYES BEHIND THE WALL and THE WEEKEND MURDERS under the heading of 'nice idea, shame about the execution' before musing on the contention that indeed, a little more 'execution' of either kind wouldn't have come amiss. And while it was good to finally see it, especially given that I downloaded it about a decade ago, I doubt very much whether I'll be watching it again. Much like the titular whisper, this is something that should maybe stay in the dark.
statistics: Posted by Wyngarde — 2:39 PM - Today — Replies 0 — Views 62