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Tenebre is one of those situations in which Argento characters definitely act inhuman. I think it's because Argento is a visual guy who works with symbols and gestures more than anything, therefore the characters work within the symbolic logic instead of any psychological logic. Tenebre doesn't have enough grounding in reality to make its dreamlike characters and action seem perversely real as they do in other Argento films. It's still an interesting early stab at the points he makes about art and violence in Opera. There's just too much Fellini and not enough Bava in it.
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