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Well, it's official - Hell has indeed frozen over.

WARNING: The following review contains spoilers.  Seriously - it blows the lot! Whodunnit, why and what happens to them. If you don't want to ruin the movie, don't read and just buy it!

"I have the proof right here!  Or is that proofs.  Bugger!"
Dario Argento's "Animal Trilogy" started life with his directorial debut, Bird With the Crystal Plumage, continuing the theme with 1971's Cat O'Nine Tails and quickly concluded in 1972 with Four Flies on Grey Velvet.

Four Flies on Grey Velvet tells the story of American rock drummer Roberto Tobias (Michael Brandon), who is living in Italy with his emotionally distant wife, Nina (Mimsy Farmer); Roberto's life is turned upside down when he is persistently blackmailed for a murder he didn't commit, seeking solace in  the arms of Nina’s cousin Dalia, and as the bodies begin to pile up, Roberto tries to solve the mystery surrounding the original "murder" and unmask the killer determined to turn his life into living Hell. The question isn’t as simple as “whodunnit”, but that of “is everyone around him as honest as they say they are…?”

Argento's third film remained his most elusive thriller for many years, as it received scant distribution and was barely released on video in the eighties and nineties; fans had to make do with foreign language copies or one of the several seriously dodgy bootlegs that were in circulation. We were fortunate that our first viewing of Four Flies was on the big screen, at an all-day event at the University of Kent in the early nineties; the audience was made up of mostly bored media studies students who weren't particularly happy at having to attend the event on a Saturday, but there were one or two other Argento fans present, and Four Flies was second on the bill. Seeing the opening sequence - with it's dizzying series of camera angles that included gigantic wide shots, extreme close-ups and cameras mounted on the necks of guitars, all set to an acid rock score - was seriously mind-blowing and made a BIG impression upon us. We were more than aware of the scarcity of copies on video, but we were so eager to see the film again that we went through several of the aforementioned dubious bootlegs before importing a genuine VHS release from Greece, which was in French with large, ugly Greek subtitles burnt-in. We watched the thing so much that we became more familiar with it in French than English.

Argento sets out his stall of pulsing thrills right from the outset, with he opening title sequence of Four Flies being something so cool that we have always had great affection for. Roberto’s band is seen in the recording studio, and our hero is being bothered by a pesky fly as he beats out a funky rhythm on the drums. His efforts to kill the thing without dropping the beat are intercut with flashbacks to events prior to this, showing a mysterious figure following him. This all happens while a damn cool instrumental track plays and the audience realises that the fly that Roberto has been trying to squash is a metaphor for what is going to potentially happen to the drummer himself.

There have been those who accuse the cast of merely wandering in and out of the story without displaying any sort of emotion. This is certainly not the case, as most of the cast inject a fair degree of emotion into their performances, but the execution of their dramatic duties is subtle, which makes us wonder if those whom hurl such accusations prefer their actors to wear neon signs whilst in front of the camera. When such an accusation is levelled against Michael Brandon, his performance can be seen as somewhat subdued, but we see this as Brandon's interpretation of a musician who is on the verge of creative burn-out and who has a marriage that is going the same way; any sort of passion that Roberto tries to show toward his wife is cursory, as though both of them know that things are finished between them and that an easy, apathetic divorce is about to appear on the horizon. His disconnection from the world around him is furthered when damning evidence against him starts mysteriously turning up in his daily life, adding paranoia to an already depressive personality.

Earlier on in the movie, Roberto comes across as a bit of a bastard, needlessly criticising his fellow musicians, neglecting his friends and even screwing around behind his wife’s back, but Argento has carefully planned it all out to throw viewers off the scent. Most would link such behaviour to the paranoia generated through being stalked by a creepy guy all the time, with an escalation in low mood once being blackmailed through the “murder”. Events put a strain on his marriage, forcing his wife to grow cold, with Roberto seeking out warmer, more understanding flesh elsewhere. Once the identity of the killer is revealed, it’s a pleasure to work backwards and find that the chain of events was all according to plan. The culmination of an extra-marital was all by Nina’s design, so as to give herself cause to hate Roberto as much as she did her father, allowing for greater satisfaction upon killing him

Legendary Italian screen icon Bud Spencer fills the screen (literally and metaphorically) with his presence, injecting both seriousness and levity into the story as Godfrey (or "God", as he hates to be known). Spencer displays an easy charm which is quite removed from the sort of character that most remember him for and it's always good to see him on his own and not playing second-fiddle to Terence Hill for a change. Though Godfrey is tetchy about having his name affectionately shortened to God and his role in this film is more removed from the action-orientated parts he was usually saddled with, Spencer's character uses his fists in the final act and saves Brandon in something that could be looked upon as divine intervention...

"Keep right.  Keep right....bollocks!!"
Regardless of how the aforementioned climax is meant to be read, there is a overt streak of religion running through the script of Four Flies. This is not to be taken literally, as our protagonist doesn’t go running over to the nearest church begging for his mortal soul. It comes through the use of Bud Spencer’s character God, and everything which revolves around him. Roberto literally turns to God in the face of death, and when meeting him in secret at a undertakers’ convention, everyone is gathered together in the sight of God Almighty. As mentioned earlier, at the films’ climax, Roberto is saved by an act of God, where his salvation from being murdered with a gun is a clear case of Deus ex Machina.

There are more overtly humorous sequences in Four Flies than in Argento's previous films, Bird With the Crystal Plumage and Cat O'Nine Tails, as there are sequences that are crammed with humour that would have seemed clumsy and out of place if they were handled by any other Italian director working in the giallo field. One such sequence - appropriately set at a trade fair for undertakers - allows for several amusing moments whilst expository dialogue is being delivered, making the necessary information easier to swallow than if it were just two characters talking in a small room or walking along a corridor. In some respects, Four Flies could be seen as stylistically the closest to the work of Hitchcock, as Hitch was always one to insert a degree of levity into a situation to relieve tension before building up it up again.

To this end, Argento also includes a number of lighter characters into the story - Bud Spencer's Godfrey has a comedic parrot (named Jerk-off in the English language version) that serves to inject humour into the gloomy and oppressive life of Roberto; Godfrey also has a comedic sidekick, a scruffy, shambolic individual known as The Professor, so-called because he "…kisses the ladies‘ hand and doesn‘t pick his nose in public"; there is also a postman who forms part of a running gag and the final pay-off is one that made audience of bored cinema students laugh when we saw it. It’s these kinds of humorous additions which are sorely missed when directors try to get to serious with thrillers. You can still have a deeply grim murder-mystery, with all the violence you want, but it really helps to get the audience on your side by adding some chuckles in it to keep the audience off-guard.

If there is one character who is the both comedic and controversial in this film, then it would have to be Jean-Pierre Marielle's Gianni Arrosio; he is a most assuredly camp character, and initial appearances would cause one to make a snap decision and write him off a gay stereotype, but this is certainly not the case, as the ability to be able to perform his job is addressed almost immediately and Arrosio admits that he is terrible at his vocation, but this is on his own ineptitude, rather than any deficiencies due to his sexuality. The fact that he almost wears his inability to detect anything as a detective as a badge of pride ( "A fantastic record - incredible!") only adds to the sense of shock when he eventually works out the identity of the killer. As much as we defend the character against accusations of homophobia, we have to admit that there is something a little suspect about having Arrosi being killed whilst in a toilet cubical, though.

There is a real sense of tragedy to the entire mystery surrounding the killer, and not just that of suffering at the hands of a merciless father in a miserable childhood. In Argento’s previous The Cat O’ Nine Tails, the assailant takes great care to create a false set of circumstances to cover his tracks, in this case staging a robbery to get rid of the damning evidence containing his “XYY” genetic makeup, but things aren’t so simple in Four Flies on Grey Velvet. This time around, the killer strives for reality and truth - albeit someone else’s - for her own purposes, that of carefully keeping Roberto in her life long enough to get revenge on her father though his physical resemblance. Unbeknownst to Roberto, she never was, has been or will be interested in anything about him, that their entire life together was a carefully-controlled convenience and she would never in any way love him, a tragedy almost Greek in its poignancy. Four Flies on Grey Velvet has a much more complex psychological undercurrent than most credit it for.

Four Flies continues a theme often used in Argento’s murder mysteries, one which was initiated with Bird with the Crystal Plumage, and expanded upon further in Profondo Rosso, that of blurring the line between genders. For his first outing, it was the question of just which of the sexes was the killer, with the crucial twist firmly answering it. With Four Flies, a perfectly functioning girl goes through Hell for the crime of being female, emotionally twisting her inside and adopting the more base qualities of the male of the species in order to exact a slow-burning revenge. Nina is the perfect example of Anthony Burgess’ premise for A Clockwork Orange: someone healthy and wholesome on the outside, crippled and mechanical within. Argento would take it further next time, adding another dose of homosexuality and instances of both cross-dressing and transvestism into the mix.

Is he using George Eastman Kodak film?
In some cases, Argento seems to be refining past sequences from his previous two films as if to correct what he seems as “imperfect” filmmaking. In Bird with the Crystal Plumage, Tony Musante found himself helplessly trapped between two glass doors, with the killer making a hasty retreat. Cat O’ Nine Tails saw James Franciscus sealed into a mausoleum whilst the culprit scarpered. As though unhappy with the assailant fleeing the scene and the environments not being constrictive enough, Argento created the ultimate version for the final part of his “Animal Trilogy”. One of the prime suspects for making Roberto’s life a misery finds herself out waiting for her boss to meet her, but finds that she’s only there so that a loose end can be tied up. Running for her life, the minion ducks into an alleyway which begins to narrow as she goes further along, mirroring the walls of reality closing in around her. Eventually she is wedged with no way out, as the killer makes their move, and silences the accomplice forever. It’s a terrifically disconcerting scene, sure to freak out anyone with even the mildest fear of claustrophobia.

Whilst the above sequence might strengthen Argento’s moniker of “The Italian Hitchcock,” Four Flies offers an instance where Dario might have trumped The Master’s intentions in one particular scene. The killing of Arbogast in Psycho (for our money, the best shock in the movie) had been written in the script that “he hits every step” on his deathly fall down the infamous stairs, but a more elaborate, and some might say “easier” option of having him stumbling was employed. When the character of Dalia is set upon by the killer, the final stab sees her dying body plunge head-first down a flight of stairs, her skull hitting each one on the way down. This is almost a perfect transposition of the words from the Psycho script. Homage, theft or mere coincidence - you be the judge.

There are a number of people out there whom have drawn direct comparisons between some of Argento’s seventies movies and Nicolas Roeg’s Don’t Look Now, with Four Flies’ theme of a doomed couple trying to sort out their rocky relationship whilst a killer stalks the area. Whist there are probably closer links to Profondo Rosso, the surprisingly daring sex-scene in Four Flies on Grey Velvet almost seems like a template for the “were they really doing it?” screwing sequences in Roeg’s later film. The whole thing is rather ironic, as Francine Racette - whom plays hide-the-soap with Michael Brandon - ended up marrying none other than the star of Don’t Look Now, Donald Sutherland himself! How many degrees of Kevin Bacon was that!?!

Along with indeterminate gender, another instance of something being carried over into Profondo Rosso was an unfortunate event which transpired on the musical front. Ennio Morricone turned Bird with the Crystal Plumage into an thing of angelic beauty with his terrific score, and helped to paper over a number Cat O’ Nine Tails’ shortcomings with another superb contribution, but when the celebrated musician turned in his work for their third project together, Argento didn’t want to/contractually couldn’t use most of his compositions. He originally wanted Pink Floyd to work on the movie, but ended up utilizing some of Morricone’s work, with a guitar-based rock filling out the rest. A similar - though more amicable - fusion of two contrasting styles occurred on Profondo Rosso, with Gorgio Gaslini collaborating with Goblin to make one hell of a soundtrack, with the opposing blending perfectly. Four Flies’ score is superb, and sure to bring a smile to giallo fans whom haven’t caught up with it yet, and we have to say that the only way you’ll pick out the polarized styles is by snagging a copy the album. By the way, it was a quarter of a century later that Argento and Morricone worked together again.

An example of just wonderful Morricone’s work is comes when God saves Roberto from the murderous intentions of his deranged wife.  Nina flees in a car, only to literally lose her head in a crash that was filmed in slow-motion using an experimental scientific camera that shot at such a high frame rate that it had to be cooled whilst in operation. Whilst on a technical level, the results were more than worth the effort involved, as this provides the most beautiful death of an antagonist in cinema history; Nina's eyes widen as she faces her unavoidable demise, as the back of the vehicle starts to plough its way through Nina's car and the windscreen eventually explodes into a million pieces. But when melded with the gorgeous sounds of Morricone's haunting “Come Un Madrigale” it becomes an almost joyously gorgeous work of cinematic art. This poetic motor vehicle death is in stark contrast to the one seen near the end of Argento's next giallo, Profondo Rosso, where the character suspected of being the killer gets his foot caught on the side of a truck, is dragged along the streets and then has his head squashed like a melon under the wheel of another very heavy petrol-driven Behemoth.

No, not another drunken Sutherland on the prowl again...
For the many coming to the party late, the reason as to why this film is titled Four Flies on Grey Velvet has proven a controversial one; the very notion of being able to extract information from the retina of a dead person was something outlandish and likely to induce a chorus of tutting. The theory had been floating around since the middle of the 19th century and Argento himself was apparently reluctant to use the idea, one which was dreamed up by co-writer Luigi Cozzi, but was sold on the idea after FX-wizard Carlo Rambaldi showed him an example of the effect that could be employed. Though the scientific validity of this theory has long been shrouded in mystery - anyone remember Starcrash? -  it's still a great idea for the twist in a giallo, and when the significance of four flies on grey velvet are revealed, it's pretty damn cool.

Whilst the music remains deeply cool in a very funky way, Four Flies on Grey Velvet remains the most dated of Argento’s seventies output when it comes to fashion crimes. Those watching born within the last thirty years will find either amusement or bemusement when confronted by large-winged shirt collars, Caucasian afros, huge lapels, droopy moustaches, frilly shirts and numerous other sartorial cul-de-sacs caught on camera. Those born during or before that particular period will merely cringe at such outlandishness. Bird with the Crystal Plumage and Cat O'Nine Tails were fairly neutral in terms of their period clothing (with the latter having slightly more extravagant clothing than the former) and Profondo Rosso's clothing and hair aren't nearly as likely to make viewers lose their lunch. We’re happy to say that Four Flies on Grey Velvet still manages to transcend such matters, and you naturally adjust/filter to allow your enjoyment of the movie to be unspoiled by the decade taste forgot, for a movie with a fashion-related title.

In the mid-nineties, we took it upon ourselves to do a bit of investigating as to what happened with this most obscure of Agento’s movies, and started gathering notes for an article about it. It probably helps to anchor the exact time when we reveal that the piece started with: “Bollocks to Carmen Sandiego, where on Earth is Four Flies on Grey Velvet”. Said notes are lost to time, but it detailed our attempts to find to just why it was so obscure, not to mention at the origin of the famously awful bootleg. We wrote to Paramount in the attempt to chase up if they still owned the rights - this is before the days of merely dispatching an email - and got back a letter so generic in tone it was almost patronising. “Whilst we appreciate that there would be some interest in such a title…” before going on to say that they had no plans to release it. At the other end of legality was the pirate copy, which turned out to be an nth-generation copy from an original obtained by projecting an anamorphically un-squeezed 16mm print at a breeze-block wall and pointing - what seems to be - an original Ferguson video-star camera at it. Clearly this was made by a fan, and we salute his ingenuity.

With quantum leaps in home entertainment technology, it’s got to look at whole lot better than we’ve been used to. So just how does Four Flies on Grey Velvet fair when thrust into the spotlight of high-definition? Let’s shine a blue ray through its eye and find out…

"Another series of Dempsey and Makepeace?  Only one thing for it..."


For a movie only really seen through hideous bootlegs (aside from the MYA DVD, of course) this new high-definition effort bombards the eyes with a clarity fans had only seen in the wettest of dreams.  There is an ocean of detail to be discovered, and opens up an entirely new experience of those with a taste for Italian terror. A perfect demonstration of just how good the resolution can be is how you can see right through the rather flimsy top worn by Mimsy Farmer during the movie, and certainly earns the transfer a couple of points for that display,

The colours are pretty vivid, and we’d hazard a guess that this is fairly close to how it was lensed, given that the period was one of gaudy hues anyway. Our theatrical experience of the film came from a pretty battered 16mm print, so there’s no way of directly knowing just how it originally looked. There is a degree of grain, and the image hasn’t been scrubbed to within an inch of its life in any kind of Predator: Ultimate Hunter Edition way. It isn’t as coarsely-textured as Blue Underground’s edition of Bird with the Crystal Plumage, but there is certainly detail to be found, with close-ups of faces looking particularly nice. Argento planned the movie to be very dark in hue, designed to viewed in total darkness, and the black-levels are pretty supportive of those intentions, faithful to the stock used by the Italian industry at the time.

If there are any major faults to be found, they would have to be inherent in the HD mastering struck by other hands, but we suspect that every subsequent edition will be all use the same materials, as the creation of another HD master is highly unlikely. There has been much internet chatter about the optional “missing footage“ integrated into this release, and it is a bit of a mixed bag and we have to say that whilst they help to smooth out a couple of major jumps, the quality really is pretty poor in comparison. It’s likely that Helen Keller would have been able to spot the difference in prints, but it’s balanced out by the way it makes the movie more “complete,” and to alleviate any doubts you would have in watching it without them, just take a look at the movie minus the new footage. The jumps are horrible, taking you out of the film and plonking you back in your living room more efficiently than a particularly shrill alarm-clock waking you up in the morning. The coda to the running postman gag is ruined, and the crucial piece of information that Dalia is Nina’s cousin is completely lost, leaving Four Flies virgins in the dark as to exactly who she is. Other releases won’t have the missing material presented any better, so this isn’t a deal-breaker.


Shameless have spent a lot of money and effort cleaning up the audio for this release of Argento’s lost movie, and all other efforts aren’t even in the same race. The MYA DVD had one hell of a problem with the sound, as it seemed to have been taken from a rather questionable PAL source, with no attempt made to correct a severe problem with the pitch. From the samples we heard, it was pretty horrible, and was the primary reason why we stayed away from it - not the mention the missing footage. Such problems are well and truly banished, as this is an absolutely cracking 2.1 DTS HD-MA version of the English audio track, with the pitch corrected, and not riddled with crackles they way the bootleg Retromedia edition was.

This comes from Shameless getting access to the original audio mag, allowing for a rich, dynamic presentation. It really is a revelation, and you’ll want to crank up the volume to have the music blow the roof off, and it really is a ton of fun, son - as they used to say in Smokey and the Bandit. It says a lot that one of us turned their amp up to listening-level as the movie was about to start, greeted by the thunderous opening drum-roll, so loud it was met with the words: “JESUS CHRIST!!!” Due to the restoration of some crucial footage the end, there was the same problem with material in Profondo Rosso: it was never dubbed into English, and Shameless provides subtitles for the Italian dialogue when the footage comes up.

The Italian track is a rather nice option, although not as rich as the English version. Accompanied by English subtitles, it allows fans to see Four Flies on Grey Velvet the way it went out in its native land. Makes a change from yet another bloody screening in French, which was saddled with Greek subtitles! If you want the full Italiano experience, then you’ve certainly got a perfectly good way to watch it. By the way, hats off to Shameless for not just sticking “dub-titles” onto this track, as we get a set of faithful translations with it!

Both English and Italian dubs come with the Dolby Digital 2.0 option, but with the audio sounding significantly thinner and more disconnected, we recommend you make the higher-fidelity soundtracks you listening mode of choice.

Eye, eye!  Looks like dodgy science to us!


The Art of Murder: An Interview with Luigi Cozzi: Regardless of how you feel about his chief contribution to Four Flies, there is no denying that Luigi Cozzi is spilling his memories of the Italian movie scene, conveying them with clarity and a sense of realistic detachment which many other interviewees could learn from.

Naturally, Cozzi takes credit for the “sci-fi” element to Four Flies, and you have to admire just how causal he is about it, as bringing something in a movie which blights it for many people is not to be taken lightly. With his input as strong as it was, it seems funny that he takes time out to label numerous other elements of the film “absurd,” along with using other disparaging words. This is the guy whom came up with the eye gag for it…

Sergio Martino comes along to point out that a murder in his stand-out giallo The Strange Vice of Mrs Wardh, but Cozzi is adamant that neither he nor Argento had seen that particular film.  As a matter of fact, Dario claims to have never seen any of the gialli produced in the wake of his movies, even going so far as to say that il Maestro hates them, but when clips of both Four Flies and Martino’s work are played side-by-side, the similarities are unmistakeable. He clearly doth protest too much. Other cinematic and literary “influences” are discussed, but none seem as blatant.

It caught our attention that the reason why the violence is noticeably stronger than Argento’s previous movies is because only old films were played in TV in Italy, and ones with stronger content would stand no chance of getting screen anyway, so Dario decided to really push the boundaries on it, with residuals out the equation.  To that end, Cozzi also explains that the death scenes were written first, and the rest of the story constructed around them, and that the final product flows well without such a fact being screamingly obvious, shows they did it well.

Anyone with a feel for cinematography will be intrigued by Cozzi discussing the look of the movie, that of a darkness which is embedded in the very celluloid of Four Flies on Grey Velvet.  Once again, this came about due to there being no chance of a TV  screening, and dark visuals really don’t carry over to the cathode ray tube very well at all. This allowed the freedom to use great swathes of blackness during the film, keeping characters in the dark visually as well as psychologically. Cozzi claims that only raw celluloid can properly show the black-levels correctly, and that even DVD can’t do so. Blu-ray might have something to say about this, though…

The blessing and considerable curses of using the ultra-high speed cameras for key sequences are addressed, with considerable detail provided in just how much of a pain in the arse they were to work with. Expensive re-takes, irate members of the Argento family, replacement cars needed, underpowered frame-rates - you name it, they are here. With the Shameless Blu-ray release, talk of the visible line produced by the film going through the camera is rendered moot, as this terrific edition has gone to the trouble of removing it, so that nothing spoils the inherent beauty of the images Dario created. A note at the end of the documentary informs the unwary that the line has been digitally erased, FYI.

The signing of Bud Spencer is covered, and is particularly interesting. One of the most sought-after actor in Italy at the time, Spencer wanted a change from the westerns he was internationally known for, but he was an expensive proposition. A friend of Dario’s, he agreed to do the movie for expenses only as a favour to the director, on the proviso that his name not be aggressively used to promote the movie.  

Casting, music problems, locations - they are all here, and it might well be that Argento himself wouldn’t have added a great deal more to the proceedings, as Cozzi covers things pretty thoroughly, even though there are times when his tone might rankle those waiting to see a decent copy of the movie, or even watching it for the first time. This is a damn good companion-piece to the movie, and is definitely worth forty minutes of your time, but beware spoilers!

Trailer: Sadly, this isn’t either the American teaser, nor the US trailer found on many Arrow releases, but one which Shameless have put together themselves. It’s a coming-attraction put together by enthusiasts bent on making the movie look as attractive as possible to a modern audience, and pretty good it is, too.

Italian Trailer: Now this is almost legendary - it’s so funky and loaded with utter weirdness that it almost feels as though it is trying to drill into your skull, utilizing way-out imagery rather than a surgical drill. Like the trailers for the previous two entries in the “Animal Trilogy” it uses specially-shot footage intended to grab the attention though psychedelic imagery, and we defy anyone to watch it and not feel as though they have just watched the Grateful Dead in concert. A very welcome time-capsule.

English Language Credits: For the sake of completion, these are presented for your viewing pleasure. Taken from a rather ropey print, but interspersed between clips from the HD materials, you get to see how English-speaking audiences were introduced to the movie, and our favourite is the appearance of “You have just seen Four Flies on Grey Velvet” at the start of the end titles. A nice inclusion for all of us whom got those crappy bootlegs over the years.

Photo Gallery: Now this is so very, very cool. This covers absolutely everything on the publicity-side of Four Flies on Grey Velvet, containing a couple of sets of lobby stills, numerous theatrical posters, extensive production photos, a Spanish press book with the movie presented in panel/caption form, and everything in between. Our favourite is the exploitation notes given out to theatres by Paramount with suggestions for promoting the movie, the main one being to sponsor a rock group in conjunction with screenings of Four Flies. Yep, the blurb says that rock and roll is still thriving, and urges theatre managers to take advantage with this and get local bands in the press to help put arses on seats. It’s absurd, and utterly fascinating. This is one of the best photo galleries we have seen as reviewers and fans of higher formats.

Part of our Four Flies on Grey Velvet collection...


There will be many who will watch Four Flies on Grey Velvet and wonder what all the fuss was about. These people are called “plebeians”. They are will have been weaned on modern thrillers, with lightning-fast editing, stunt-casting and post-ironic humour so as to make them more palatable, with anything released prior to the advent of DVD lost on them anyway. To the rest of us, the wait is finally over, and the full beauty of Argento’s “lost” giallo can be seen in a way which the faithful could never have imagined. What with it being 2012 and the release of one of the most cherished of unreleased Italian horror genre, the outlook for mankind in somewhat bleak. The Four Flies of the Apocalypse are upon us. It’s the end of the world as we know it, but finally watching Argento’s most unloved thriller on Blu-ray, we feel fine.

Viva Argento.

Viva Shameless.

* Note: The above images are taken from the Blu-ray release but due to .jpg compression they are not necessarily representative of the quality of the transfer.