An American expatriate in Rome witnesses an attempted murder. He learns later that it's connected to an ongoing murder spree in the city, and decides to do his own investigation, despite being personally targeted by the killer.
Enrico Maria Salerno
A newspaper reporter and a retired, blind journalist try to solve a series of killings connected to a pharmaceutical company's experimental, top-secret research projects and in so doing, both become targets of the killer.
A young man tries to help a teenage European girl who escaped from a clinic hospital after witnessing the murder of her parents by a serial killer and they try to find the killer before the killer finds them.
With Argento's trademark visual style, linked with one of his more coherent plots, Tenebrae follows a writer who arrives to Rome only to find somebody is using his novels as the inspiration (and, occasionally, the means) of committing murder. As the death toll mounts the police are ever baffled, and the writer becomes more closely linked to the case than is comfortable.Written by
David Carroll <firstname.lastname@example.org>
Unused 'muzak' from Goblin's Dawn of the Dead (1978) score plays in the background of scene where Tilda and her girlfriend argue before said girlfriend leaves with a man (right before the scene with Argento's famed crane shot). See more »
On the telephone, the killer tells Peter Neal that "you wrote those words, page 46," but in fact the words quoted would have had to be on an odd-numbered page of the book TENEBRAE, given the placement of the text we see in the opening sequence. See more »
Anne's screams continue even as the ending credits roll. See more »
The film was originally released in America as "Unsane" and had approximately 10 minutes of footage cut. It also included a Kim Wilde song ("Take Me Tonight") over the closing credits which was added without Argento's knowledge. The Anchor Bay release titled "Tenebre" is the complete 101-minute film. See more »
A top-notch giallo from the master of Italian horror, Dario Argento.
With its leather-gloved killer, amazing score, spectacular and innovative camera-work, and wonderfully gory murders, Tenebre delivers everything you could ask for in a giallo. Like many Italian murder mysteries, the story takes some swallowing, but if you can accept the convoluted plot, there's plenty of fun to be had.
Peter Neal (Anthony Franciosa) is a best-selling novelist who becomes involved in real life murder mystery when the victims of a razor-wielding killer are found with pages from his latest book stuffed in their mouths.
One of director Dario Argento's best movies, Tenebre is packed to the rafters with the kind of stuff that make good giallos such a trip to watch. As pretty girls are stalked and killed by a raspy-voiced maniac, the director offers genuine clues and red herrings aplenty, allowing the audience to have fun trying to figure out who the killer is. The movie's stunning cinematography is accompanied by one of Goblin's greatest scores, transforming what may have been mundane moments in the hands of a lesser director into pure works of art (in one amazing scene the camera simply prowls slowly around the outside of a building, but with Argento in control, it is simply breathtaking!).
Murder has never been so stylish, and even the most grisly deaths are stunningly captured. A particularly memorable moment has a young girl stumble into the house of the killer, before being chased through a garden; this scene is shot from the axe-wielding maniac's point of view, and is incredibly effective.
Fans of gore are also catered for with several gruesome murders, the best of which involves bucket-loads of arterial spray decorating most of a wall. Juicy!
Argento reveals the identity of the killer in a suitably silly finale (all gialli have them), before offing the murderer in a fittingly gruesome manner.
Check out Tenebre and witness one of the great works from one of Italian horror's finest.
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