A female rock band are failing to get the hits. With pressure from their producer, they find a possible route to creative success through the purchasing of a piece of antique sheet music, from the composer, Paganini, lost and unheard. A rock video is planned to be filmed in the composers old mansion, but strange things begin to happen when the camera stops filming.
This quite a good plot for the film, which roles along at a reasonable pace. It’s shot semi Argento as you can expect from Cozzi, but fails to hit the high level of DeProfundis, released the same year. This film has a similar feel, digging into a Three Mothers type thing with look and pace, although this time, the villain and commander of evil things is a composer in league with Satan. It’s all reds n blues with brunette women all over the place, The mansion is a great back drop for this film, giving plenty of space for the cast to stretch their legs as cameras run after them, open windows with floaty curtains. Jasmine Maimone, Maria Cristina Mastrangeli and Michel Klippstein all put on a good show, not great actresses, but none the less, fill the role quite adequately. The murders are few and far between unfortunately, although one of them, a woman squished by an invisible pane of glass is a great gory moment.
It’s a shame as Cozzi has a nice look and feel about him, the way he shoots feel close and natural with some real sparkles of magic here and there, moments of real artistic cinema. The opening scene is brilliant and captivating, which looks very different from the rest of the film. Other moments stand out, as mentioned, actresses running the halls of a spooky house, brilliantly filmed. The Rock Video sequence is real class in a Italian 80’s kinda way, and some of the final moments of Paganini with the coloured coffins is great, but the film falls flat due to the unravelling of plot late on in the film, a dreadful scene between Daria Nicolodi and Donald Pleasance, both brilliant actors, but this last scene wastes the pair. The loss on momentum central to the film which leaves characters in limbo, working around a plot structure that I’m sure Cozzi even doesn’t know what he was trying to achieve. I think here he was trying too hard to capture what Argento lost after Inferno.
All that aside, it’s quite a fine looking film with some great ideas. Interesting, but by no means perfect.