[REVIEW] Dario Argento’s Dark Glasses
A total solar eclipse takes place every eighteen months—the sun is completely blocked out as the moon passes between the star and the earth. Whilst a solar eclipse almost feels like a common occurrence, Argento making a return to horror filmmaking in ten years is a rare event. Written and directed by giallo master, Dario Argento, Dark Glasses follows the aftermath of sex worker Diana’s sightless life after narrowly escaping an incident with a deranged serial killer. Taking the surviving child of a car accident—a result of her escape from the serial killer—Chin under her wing, Diana and Chin must do their best to survive the unrelenting pursuit of the killer who has left a path of blood and death in his wake.
The beginning of the film opens with a beautiful solar eclipse that has captivated Diana and those around her. As she stands with her signature dark shaded cat winged glasses in a park, the world is slowly enveloped in a shade of darkness. A total solar eclipse is an omen overshadowing the events that follow Diana’s blissful afternoon on the grassy hill. Like most Argento films, there are moments of foreshadowing leading into the catalyst for our hero to overcome. The eclipse was a sign of things to come in ancient Mesopotamia. In Hindu shastras, an eclipse was a sinister omen. In Dark Glasses, the solar eclipse symbolises Diana’s world being encapsulated in darkness as she is blinded in the aftermath of her attack.
Dark Glasses is supported by a magical soundtrack composed of perfect synth overtones with dark and deep and dark baselines. Composed by Arnaud Rebotini (Blair Witch, 2016) the soundtrack does a lot of the heavy lifting in place of the suspense that is usually synonymous with Argento’s brand of filmmaking. This is the unfortunate element of Dark Glasses, whilst the film brings together the most well-known aspects of giallo films: black gloves, police investigation, and bloody visceral murder scenes, the film falls short on the palpable suspense that Argento is celebrated for in his horror films. The element that counteracts this lack of suspense is the thrilling escape scenes, visceral and stylistic violence, and police investigation and interactions. The film benefits from having these aspects implemented. If it weren’t for the classic giallo choices incorporated, Dark Glasses may have fallen very short.
Argento has applied some of his classic giallo magic and maintained it throughout the film. Those new to giallo and new to Argento would benefit from watching Dark Glasses before diving into his more well-known films. Dark Glasses broadcasts filmmaker Dario Argento’s return to the silver screen, whilst the film is enjoyable, as his return to giallo it is a loud blaring siren that Argento can still create a stylistic (albeit predictable) giallo. In the arenas that lack Argentos touch—suspense and mystery—it makes up for in vivid cinematography, polished scenes, and deft performances from Ilenia Pastorelli and Xinyu Zhang. Don’t watch expecting a Suspiria or Tenebrae level of giallo, watch for a basic Argento viewing experience.
