A Beginner’s Journey into Giallo
There seems to be a tipping point in every horror lover’s life when they explore outside of the boundaries of their comfort horror. For me, I have found a home in slashers and horror-comedy, opting to rewatch one of my favourites instead of being adventurous and exploring out of the confines. There is always something safe about sticking to what you know and love, and this is the catalyst for why I ventured out and explore something new. A something with black leather gloves, bright red blood, and twists and turns that could give a viewer whiplash. This something is Giallo, a genre of film I did not know existed, even though I have seen Suspiria.
The adventure into Giallo begun at the announcement of the second lockdown that Sydney had faced in the 18 months since COVID pulled the brakes on the entire world. It wasn’t because I was hesitant to dive into the genre; it was because I DID NOT KNOW that something so wonderful existed in the world of horror. Where would I even start? What films did I have to watch? I knew only one place had all the answers. Horror twitter, and boy did it deliver. Right at my fingertips, I had the portal key into a world that I did not know how much I would love.
With an incredible list of recommendations, I ventured off into the world of Giallo - not prepared for the world that awaited me. Luckily for me, a vast majority of them are available on Shudder, on their very own playlist (thank you for making life so much easier). Flicking through the list of offerings, I decided upon Michele Soavi’s Stage Fright (1987) and it soon transported me to the world of theatre, maniacs, and semi-slashers. Stage Fright draws on several sub-genres in a display of intrigue, mystery, 80s slasher fun, and flamboyant visuals. There are some beautiful kills perpetrated by the killer, Wallace in an Owlsuit that makes this film fantastical and Soavi’s Giallo gem perfect for whetting my appetite for what was coming next.
Luigi Montefiori as Masked Irving Wallace (uncredited) in Stage Fright (1987)
That same weekend, I decided I was going to continue on my Giallo education journey; we were in lockdown in my city, so why not venture to another (even if through the small screen of my television). The Saturday morning, I decided I would watch Your Vice Is a Locked Room and Only I Have the Key (1972), my first ever Sergio Martino film. Most of the replies in my thread searching for Giallo recommendations mentioned Your Vice… and I knew it was a film I had to see. It loosely based the film on the epic The Black Cat by Edgar Allan Poe and focuses on the deplorable life of Oliviero and his marriage to Irina, their lives interrupted by his niece, Floriana. I won’t delve too deep into the narrative of the film as it’s a bit of a twisted storyline, but one that is certainly worth the “good for her” (kind of) twist ending.
Anita Strindberg as Irina in Your Vice is a Locked Door and I am The Key (1972)
One filmmaker that I could not skip out on this Giallo fueled weekend was Dario Argento. Having seen the world-building that he artistically creates in Suspiria (1977) I knew I was in for a treat with both Opera (1987) and Tenenbrae (1982). As the ‘Master of Horror’, Argento crafts beautiful and stylistic scenes sewn in perfectly with beautiful actors, narratives, and criminal investigations elements. Easily, Argento has left the biggest impression on me with his Giallo and I am enthralled by how each of these films brings together my favourite aspects of horror and crime stories. Opera was beautiful in how it made me hold my breath through the torturous moments that Betty (Cristina Marsillach) endured as her crazed stalker sprung to all of her closest friends and colleagues. All the twists turns, and depraved behaviour are enhanced with an unexpected and fantastic metal soundtrack (which was an enormous surprise to me). Tenebrae crafted the crime drama with dramatic horror scenes that were visually outstanding, whilst also being perfectly timed for thrills and jaw-dropping moments. There is no doubt in my mind that Argento has certainly become one of my favourite filmmakers from the ’70s and ’80s, with his depraved characters and beautiful colour palettes that couldn’t possibly be replicated anywhere else.
Cristina Marsillach as Betty in Opera (1987)
Not being able to get the thoughts of Giallo and how incredible the genre is, I spent another day consuming more iconic films on Shudder. It would be negligent of me if I didn’t explore where the genre has been taken until this day. This lead me to watch Yann Gonzalez’s 2018 thriller Knife+Heart. The narrative sets itself apart from predecessors in the genre and portrays the harsh realities of homophobia, sex work, and relationships during the late 1970s. Knife+Heart is a visual feast with its gritty textures and a colour palette that brings everything together with an impactful level of authenticity of the period portrayed. The heavier influences of Giallo classics were paid respect to by Gonzalez, with beautiful black leather gloves, fantastical romance and heartbreak, and my most treasured element… the crime and mystery. If you have not yet seen Knife+Heart, I highly recommend it even if you are not big on Giallo.
Vanessa Paradis as Anne Parèze in Knife+Heart (2017)
These narratives are enigmatic to me, yet so beautifully effortless in how they are brought to life through film. Although there are tedious moments where I would miss an entire part of the plot if I looked away and would need to go back to revisit the moment, it wasn’t enough to discourage me from continuing to watch more movies. Giallo is a genre of film that I have developed an incredible passion for, with its ability to bring investigative crime elements and fuse them with classic horror elements that intensify my viewing experience. With the upcoming release of James Wans’ Malignant, I am incredibly excited to see what we will experience on the big screen when one of horror’s favourite filmmakers tackles Giallo.
