Four Flies on Grey Velvet

For a fan of Rome-born director Dario Argento, being able to see Four Flies on Grey Velvet, his fourth film and released in 1972, is a rare treat. It's not yet available on DVD in the U.S., and theater showings are few and far between. Fortunately, it was shown in my neck of the woods — Hollywood, that is — as part of the American Cinematheque's ode to Italian thrillers.

Four Flies on Grey Velvet is a little reminiscent of Michelangelo Antonioni's Blowup at first, as a four-piece band grooves out a funky beat and then someone sees something… there's a photographer… and things go terribly wrong.

The rock group's leader, Roberto (Michael Brandon, a dead ringer for Jeff Beck at the time) accidentally-on-purpose winds up killing somebody after that rehearsal, and thinks he can cover it up. But little does he know, he's been set up to take a fall by a calculating killer all along.

As the still-unwitting pawn tries to forget his fatal moment self-defense, and hopes no one connects the dots, Roberto's girlfriend, slim and blonde Nina (Mimsy Farmer, looking like Mia Farrow), begins to suspect something is up. It becomes more and more difficult for Roberto to maintain the charade as the malevolent mastermind amps up the danger by planting clues and evidence that point directly to Roberto.

As is usual in these early Dario Argento movies (well, OK, basically all of them!), the kooky cast of characters, the set pieces, the music and mood are far more important than logic or reason. Which is all the more reason to love Four Flies on Grey Velvet. There are so many things just totally out of left field which never pan out (like a downer of a party guest who tells awful stories which lead to beheading-nightmares for Roberto), don't make any sense (death-images on a victim's retina? Sure! Why not?), or are just plain over the top (Jean Pierre Marielle plays a hysterically bad gay caricature, but he does bring some sweetness to the otherwise cardboard role).

When it comes to suspense and blood and gore, there is plenty implied, but the moments of horror are not quite as striking as they are in, say, Deep Red or Tenebre (Four Flies on Grey Velvet shares key plot points with both of those later Argento gialli) — however, there is some good creep-factor in the use of masks and puppetry, shiny, sharp blades, and chortling over-the-phone taunts. There's also an awesome decapitation scene (which, incidentally, has nothing to do with Roberto's visions… at least, not that I could see), a claustrophobic chase scene, and a bit of shock when Roberto finally comes face-to-face with his masked tormentor.

While the slight story and gore factor rate low, the Argento style is in full flourish. From the opening sequence, lensed through a guitar as the band practices, to the final, jarring note of Ennio Morricone's memorable score, Four Flies on Grey Velvet proves itself worthy of all its nostalgic buzz.

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Reviewed by Staci Layne Wilson