I was trying to understand my limits and my potential, like a good athlete testing himself over long distances to understand his specialisation.ĭario Argento, Confessioni di un maestro dell’horror.An In Stock item is available to ship normally within 24 business hours.Ī Preorder is an item that has not yet been released. Il gatto a nove code is a transition film, as it allowed me to experiment with the means at my disposal. Using it again in this film was simply me following my evolutionary path. The subjective shooting technique was something I had used in abundance in L’uccello dalle piume di cristallo ( The Bird with the Crystal Plumage).
They are constructed to perfection, with lengthy and exhausting crescendos. With that scene, I inaugurated what I call the series of ‘long sequences’ long, as they can last as long as half an hour. The cemetery sequence is very beautiful, tense, surprising and humorous. Il cinema di Dario Argento tra genere e autorialità, edited by Vito Zagarrio, Marsilio, Venice 2008 In short, as depicted by Argento, society is but the random crossing of trajectories of human monads, almost always dictated by less than noble circumstances, such as greed, resentment and fear. Narratively speaking, the theme of solitude is the hidden soul of the film, permeating and unveiling itself as events unfold. It emerges on a figurative level, through alienating shots of the architectural compositions and the cold geometric forms, a sort of metaphor for cosmopolitan loneliness. For example, the acute sense of urban alienation found throughout the film, constantly adding a subtext to the narrative. However, in Il gatto a nove code there is much, much more. And finally, the Hitchcock quotations, taking form here in a precise intertextual reference to the famous glass of milk scene in Suspicion (1941). Then, the metatextual role of the puzzle, the mystery to be solved. We find elements, subsequently developed over time, that will become integral to Argento’s fame, as well as marks of his auteurship: first, the subjective long shots of the killer’s movements, intercut with extreme close-ups of his pupils, serving as a mechanism to trigger suspense. From this perspective, Il gatto a nove code is no exception. Dario Argento’s first films – those constituting the so-called ‘Animal Trilogy’ – should be considered as works belonging to the era in which they were made, more so than the successive canonisation of the director as an international maestro of horror-thrillers.
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