With one of those typically ornate giallo titles that involves 'ladies,' animal names, sharp objects, or strange jewels comes Francisco Barilli's fragrant, even pungent PERFUME OF A LADY IN BLACK (a better and more apt title in my mind would be CRACKED MIRROR OF THE BLUE HIPPO). American ex-pat Mimsy Farmer stars as a cross between MARNIE (hallucinating her dead mom having sex with a no-good taxidermist, smiting men who'd try and sex her) and Roman Polanski in THE TENANT (living in a weird old apartment building with enough psychics, elderly sculptors, and animal totems to give anyone the willies). For audiences familiar with other conspiracy-driven ROSEMARY'S BABY-inspired psychosexual horror head trips like 1977's American (but Italian-influenced) THE SENTINEL (my review here), it's a case of dread by association as much as anything else.
One thing I notice in all these 1970s creepshows is an admirable (or lazy?) use of very long sequences of a pretty woman slowly walking, or standing still in spooky, dark, monochromatic hallways, listening to faint scraping noises in the dead of night. A cheap way to pad running time, these long stretches constitute the heart and soul of horror, the basics: vulnerability + darkness = primordial fear and in the giallo's Argento-inspired eye towards self-reflexivity, much the better to work the weird dissonant art/fear/desire feedback loop--we watch her watch and hear her hearing, but what is she hearing, and who is she, and is she imagining it or are we?
With her short blonde hair giving her a spooky boyish androgyny and her Nordic resemblance to my own mother, Farmer was such a natural hit in in the dread-of-indistinct-gender world of 70s Italian horror (including Dario Argento's FOUR FLIES IN GREY VELVET -my review here). Not exactly sexy or strange, her button-nose pixie-cuteness never melts all the way into either Doris Day boi's club cleanliness nor Jodie Foster baby butch grubbiness, and I mean that as a compliment. In her perpetual pre-gender assignment limbo, we want to protect her, seduce her, fear her, and fear for her but in the end can only watch her... dissolve.. as she waits in that hallway, listening to more of that infernal... scraping...
In addition to the hallway standing, there is a lot of extraneous detail here that seems to be checking off some long lost giallo / Satan movie checklist rather than cohering into a narrative, so I thought for fun I'd include a list of these tropes, along with the symbolic meaning of each... if any. Note that I mean this list in only the best ways and it's not meant as disrespect to LADY IN BLACK or anything else. Gialli need these items, like old dark house movies need guys in ape suits, scheming heirs, secret panels, thunder cracks, and wheelchair-bound Egyptologists:
THE GIALLO CHECKLIST:
|1. Old family photos (descent into the past)|
|2. Taxidermy (necrophilia)|
|3. Winding Staircase (descent into the unconscious)|
|4. Music box (childhood trauma masked by amnesia)|
|5. Eccentric neighbor (red herring)|
|6. Chain lock (weak repressive mechanism)|
|7. Elderly doorman and Cat lady relating tragic news in foyer (exposition)|
|8. Abandoned building where a hidden crime occurred. (readymade set)|
|9. Blind psychic (fatalism)|
|10. Mimsy Farmer, or facsimile (cute androgynous question mark)|
And the DVD from Raro Video is gorgeous! Clearly a lot of time and effort was spent getting the colors deep and hallucinatory bold ala Argento's DEEP RED and SUSPIRIA. It's not quite as great as those films, but in its own private Roma way, it's awesome. So when you're out of Argento and early Polanski but still on that crazy dark color mod Euro insane hottie kick, heighten your senses and learn to enjoy one of the more opaque of giallo-jewels, PERFUME OF A LADY IN BLACK, a nutty future classic, bound to grow in your esteem on repeat Halloween viewings.