Tutti i Colori del Buio (All the Colors of the Dark) (They're Coming to Get You) Reviews
A fun little thriller featuring surreal dream sequences and some of that crazy 70's Satanism that was so popular back in the day. I'd recommend it for all of the above as well as some gratuitous nudity from star Edwige Fenech, which is never a bad thing.
Give it a look, recommended.
Fenech (décidément, on va croire que je la poursuit celle là) est cette fois ci la pauvre victime d'une espèce de secte qu'elle a intégré à cause de sa voisine qui était devenue son amie ! Martino matine son giallo de satanisme et autre truc zarbi et ça change un peu de la routine habituel, vu qu'il en a réalisé un paquet je comprends pourquoi il s'essaye à autre chose, même si ce choix est aussi commandé par l'aire du temps (succès d'autres films, fais divers). Plus que regardable, virant parfois à la farce il faut l'admettre mais bon, le genre veut ça !
The cast is something of a "who's who" of Italian cult cinema. Frequent Martino collaborators George Hilton and the beautiful Edwige Fenech take the lead roles and the film wouldn't feel complete without them. Edwige Fenech fits the lead role like a glove. She's at her best when she's playing the vulnerable victim, and that is the role she has here. The sleazy George Hilton has been better, and he isn't given much to do in this film; but it's always nice to see him in a Giallo. Cult star Ivan Rassimov stands out as the villain of the piece, while Susan Scott; the beautiful actress who has appeared in films such as Death Walks at Midnight and Emanuelle and the Last Cannibals makes a mark in supporting role. The plot moves well, and Sergio Martino does a good job of getting us behind the lead character. The music and cinematography are superb, and Martino's use of colour helps to ensure that the film has a vibrant atmosphere, which suits the plot well. The climax is a little abrupt, and despite the scene leading up to it; I've got to admit that it left me a bit cold. The rest of the plot is great, however and while this isn't Martino's most successful foray into Giallo; it's still a very good one, and comes recommended.
Jane needs to get something off her mind and with a psychiatrist she can do so. While waiting to see Dr. Burton, the man with blue eyes sits across the room from her. Or does he? She can't seem tell what is real and what isn't anymore. Me neither as the film goes on.
After her first visit, the blue eyed man shows up again on the train she rides. She escapes and makes her way back home in a hurry where she bumps into a woman named Mary who lives in the same apartment building as she does. They get to know each other well enough for Jane to open up about her troubles. Mary feels she has a solution to it. So, she takes Jane to a Satanic cult where they sacrifice a dog, pour it's blood into a cup and have Jane drink it before getting raped by the leader of the cult.
Funny how it turns out to be all she really needed. Or so she thought. The blue eyed man appears again and once again she returns to the cult to be savagely fornicated by the cult leader while the rest of the members watch. When a member of the cult brings in someone new, that person must be set free. Since Mary brought Jane, Jane must sacrifice Mary. In other words, set Mary Free. She does this, but can't seem to know if it was real or a dream.
Jane is now stuck with this cult which soon turns out to be something even more sinister. My favorite scene out of this hallucinatory mess of a film would be with the beads when Richard confronts Barbara. There's something beautiful about how it was shot. I can't explain it.
There are many twists and turns leading the viewer's mind bending every which way. I didn't like the constant false hack n' slash moments. They were annoying. The direction is smooth and trippy. An obvious influence to Rosemary's Baby is present in both the mood and music. You can hear a couple of times that same 'La-La-La' tune.
A satanic surrealistic tale with overtones of Rosemary's Baby everywhere.
I take my under enthusiasm back from my first viewing. Loved the film on the 2nd. Visually stunning and a blueprint on how to use colour effecivly to entice mood. The story isnt lacking so to speak but is brief and to the point (and at times suggestive) due to the fast pacing. The highlight is most definatly the cinematography and the lighting. The tag line on my DVD box read " A Kaleidoscope of Psychedelic Horror!" and that pretty much nails it.
She is stalked by the brilliantly creepy Ivan Rassimov (one of the most amazing and versatile actors in the Italian exploitation scene) who is the leader of a bizzarre cult. The cult engages in weird sexual rituals, and seeks to inititate senora Fenech into their circle (can you blame them? which straight guy on earth would not want to partake in a sexual ritual with Fenech?).
The film features some truly surreal dream sequences with interesting visual twists such as multiple exposure and kaleidoscopic imagery.
As with most other giallos from the early 70s there is a psychosexual subtext in the fringes of the film. In this case, the topic of choice is frigidity and marital distantness. The Argentinian stud George Hilton plays Fenech's husband, and he looks stylish as hell (as always).
And to round it all of the film features a stunning score by legendary exploitation composer Bruno Nicolai, and the soundtrack proves his versatility as a composer. The tunes range from mellow, eeerie, frenetic and psychedelic.
The true testimony to the film's greatness is that I've watched it several times over the last couple of years and it just keeps getting better.