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11 of 11 people found the following review helpful:
4.0 out of 5 stars
Major return to form for Dario Argento - a triumph!, 17 April 2002
SLEEPLESS (Nonhosonno, 2000)
Aspect ratio: 1.85:1
DVD soundtrack: Dolby 5.1
Theatrical soundtrack: Dolby Digital
Representing writer-director Dario Argento's best work since OPERA in 1987, SLEEPLESS is a giallo masterpiece, a hi-tech nightmare which returns the director to his beloved thriller genre (following unhappy detours into the worlds of Poe, Leroux, and others) and predictably reworks all the major themes that have fuelled his output since THE BIRD WITH THE CRYSTAL PLUMAGE (1969). Set in Turin, SLEEPLESS is the twisted tale of an ex-detective (Max von Sydow) who's called out of retirement to investigate a series of murders patterned after a similar spate of killings that ended in 1983 when the primary suspect - a dwarf who wrote crime novels - apparently committed suicide. Now, someone is using one of the 'Dwarf Killer's' most unusual compositions (a poem describing the slaughter of farm animals) to perpetrate an all-new series of brutal atrocities. Joining forces with von Sydow to solve the mystery is Stefano Dionisi (FARINELLI IL CASTRATO), whose mother was an early victim of the killer's rampage, and their investigation leads to further bloodshed and a bravura climax which ties all the loose ends together in a suitably Grand Guignol manner.
Scripted with exquisite grace (by Argento, Franco Ferrini and Carlo Lucarelli), and filmed entirely on location, the movie proclaims its sober intentions from the very start, opening with a genuinely terrifying set-piece on a moving train in which the killer stalks a prostitute (Barbara Lerici) who's accidentally taken incriminating evidence from his/her apartment. Had the rest of the film not been so strong, this intense opener could have derailed the entire narrative, but Argento has plenty of other surprises up his sleeve, most notably an infamous carpet-level tracking shot along a busy corridor which (ahem!) doesn't conclude happily...
Working once again with world-class cinematographer Ronnie Taylor (Richard Attenborough's favourite DP), Argento has fashioned a stunning combination of narrative momentum and cinematic technique, and some of the film's most harrowing episodes culminate in shocking outbursts of explicit violence (the fate of Dionisi's mother is particularly horrific, and another murder inspired by a similar sequence in DEEP RED [1975] reportedly caused walk-outs during a screening in Cannes, so be warned!). Elsewhere, Argento's triumphant return to the giallo format is further underlined by a terrific music score composed by former synth-rock group Goblin (easily their best work since the early 1980's), who reformed especially for this production before quickly disbanding again! Other notable contributions: Anna Napoli's keenly-judged editing skills, and Sergio Stivaletti's gruesome makeup effects, including an ultra-convincing exploding head!
Though the script and direction are entirely successful, the cast is a typically hit-and-miss assortment of familiar faces and unknown quantities. As a result, some of the supporting players aren't terribly strong, especially in this dubbed version (the multi-lingual cast performed their roles entirely in English, but the soundtrack was later re-dubbed during post-production). Dionisi's character is severely underwritten, giving him little to do, but Chiara Caselli (MY OWN PRIVATE IDAHO) demonstrates real potential in an otherwise thankless role as Dionisi's childhood sweetheart, an association which exposes them both to the killer's merciless rampage. Predictably, von Sydow is magnificent, investing his role with the kind of warmth and humanity that might have eluded a lesser actor, while longtime Argento stalwart Gabriele Lavia (DEEP RED, INFERNO, etc.) makes a welcome appearance as the father of Dionisi's best friend (Roberto Zibetti). Some of the film's more wayward conceits - such as the 'dwarf' assassin, and the killer's almost childlike reaction to his/her unmasking - may provoke laughter amongst the uninitiated, but the watertight script provides valid explanations for every element of Argento's vivid tapestry. Eminently repeatable, SLEEPLESS isn't merely one of the director's most accomplished films for ages, it's also one of the best horror movies of the last twenty years. Enjoy!
Amongst many other supplemental features, M.I.A. Video's excellent DVD also contains the Channel 4 documentary "Dario Argento: An Eye for Horror", which features invaluable on-camera interviews with the man himself and his various collaborators and biographers. This warm-hearted tribute also includes a brief appearance by actress Piper Laurie, whose entertaining description of her death scene in TRAUMA (1993) inadvertently provides the best possible encapsulation of this director's crazy-wonderful cinematic universe, when she concludes: "...it's not often that you get beheaded, and then get to say lines afterwards!" That, my friends, is Dario Argento's eccentric genius in a nutshell...
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2 of 2 people found the following review helpful:
4.0 out of 5 stars
Never sleep again..., 20 Dec 2007
When this movie was first announced, I immediately rejoiced. The excellent Dario Argento (he of the classics SUSPIRIA and PHENOMENA) returning to the giallo thriller? Acclaimed actor Max Von Sydow in a major role? How could this go wrong? Then, I quickly remembered Dario's latest few movies, and my heart sank. Luckily, for his fans - on this occasion, Dario isn't ready to disappoint as SLEEPLESS (NON HO SONNO) is a striking return to form with an added bonus: This movie doesn't resemble his earlier flicks in the fact that characterisation and plot take a back seat, this one is actually story driven and besides the gorgeous visuals that are on display, Argento delivers characters that you care about and a story that is actually involving.
The story is standard giallo fare. In Turin, 1983 - a serial killer nicknamed THE DWARF (I know, I know, don't switch off just yet) is terrorising young women. Detective Moretti (played by the excellent Max Von Sydow) apparently solves the case, promptly becomes a hero and then retires from policing altogether. Fast forward 17 years later, and the killings start up again. He is drawn back into the case with the aid of a young man Giacomo (Sefano Dionisi), who's mother was killed by the Dwarf. Together, they unravel the mystery that has lasted for over 17 years.
The movie is fantastic, ranking up as one of Argento's best. The opening sequence aboard a speeding train, where the killer plays cat and mouse with a young woman is superb. A tight and never-ending scene, where you truly don't know when the killer will pop up and go BOO. Infact, the movie is littered with these great scenes of true horror, and whilst watching you begin to wonder why no one in the US can conjur up horror movies like this (I think I might throw up if some bright spark at a movie studio decides to greenlight another remake or teen horror clone). The cinematography is very stylish (Argento reteams with OPERA stalwart Ronnie Taylor), with the correct use of light and day sequences to truly give the feeling that no one is safe in this movie, whether it be in daylight or darkness. Also, kudos to the cast. Von Sydow is great, and slips into his role like a glove. His scenes are always moving and you are drawn to him whenever he appears on screen. The supporting cast members are also very good, which is strange for an Argento movie, as usually the dubbing or acting grates on me whenever I see his movies. Infact, I can't say anything negative about this movie . . . oh, except one thing. Yet again, Argento likes ALL of his victims to be beautiful young women. This still seems strange to me, as in most of his movies - its the fairer sex who are butchered and hardly any men. (This movie is no exception, and the death sequences are truly horrible. Witness the death of Giacomo's mother in flashback - yeah, obviously a fake head effect - but, the implications of the scene are quite disturbing. The deaths throughout the picture depict women being beaten to a pulp, cut open and generally treated like meat. So, if you are a casual viewer, approach this movie with caution - I, even as a big Argento fan found this movie to be a little TOO MUCH in the way of female killing. Maybe next time Dario, skewer a few guys, huh? Just to even it out?)
Now, lets get onto the actual DVD. On disc 1, not only do you get a beautiful widescreen transfer of the movie, but also a 'making of', a european theatrical trailer and bios. Not bad, I would be quite happy with that. But, that's not all - on disc 2 you also get the cool Dario Argento documentary with insights not only about him, but snippets from Romero, Carpenter, etc. A great addition for any Argento fan. So, all-in-all, a great return to form with a great disc. Forget those dull gore porn or teen horror movies that have littered our movie theatres and video stores for the past few years - go for real horror directed by one of the best guys around. Recommended.
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4 of 5 people found the following review helpful:
4.0 out of 5 stars
A return to form, 22 Sep 2004
A qualified return to form for Dario Argento, Sleepless starts like it's going to be one to add to the classics of Suspiria, Deep Red and co. with a barnstorming first 20 minutes. Argento piles on the pressure as a prostitute narrowly escapes an assignation with a serial killer, accidentally stumbling on evidence of his crimes, only to find herself trapped with the killer on a virtually deserted late night train. The film isn't capable of sustaining the energy of the brilliant opening, but it settles down into the familiar pattern of an Argento thriller - a black gloved serial killer dispatching his victims in grilsy ways, and a detective struggling to remember a nursery ryhme that may hold the clue to the killer. Critics may complain that Argento is just repeating the same material he's done before, but after the misfire of Trauma Argento has regained his style, aided by the return of musical collaborators Goblin (Deep Red, Dawn of the Dead, etc). It doesn't quite match Argento's classic earlier work, as the plotting is a little too contrived, with logic being sacrificed in the name of suspense, but with a dizzyingly twisty plot and some fine gore set-pieces this is something of a return to form for the great horror director.
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