Masked Killer: [in a disguised, whispering voice] “I could kill you know, but I won’t. I’ll wait. Who’s going to help you? The police, perhaps? You can’t ask anyone. You’re all alone.”
The third and final film in Dario Argento’s gialli ‘Animal Trilogy’ – following The Bird with the Crystal Plumage and The Cat o’ Nine Tails – 1971’s Four Flies on Grey Velvet, like the others, aren’t truly connected by anything other than their quirky titles and mystery thriller themes.
A vexing conundrum for our protagonist, rock drummer Roberto Tobias (Michael Brandon), he constantly seems to be tracked by a shady looking individual (Calisto Calisti). Finally having enough, he does his own stalking, following the individual into an empty hall. Feeling all too perfectly planned, Roberto seemingly thinks he has accidentally stabbed the man while wrestling with him after he pulls a knife. . . yet, as it happens, an eerily masked balcony maestro turns on some lights to snap some photos of the murder.
Leaving Roberto in shocked awe, he returns home to his wife Nina Tobias (Mimsy Farmer – Autopsy; The Black Cat), who immediately notices that he is a tortured shell of his former self. With no blackmailing on the way, the sole witness seems more interested in slowly torturing the man than getting anything from him. Mailing him weird items related to the happening, appearing in their home late at night to place the photos in surprising locations to further torment him, as well as doing other such things, it all seems to be a sadistic game of cat and mouse. . . or perhaps a spider slowly weaving its web around a fly. It must also be highlighted that the couple have a nosey live-in maid named Amelia (Marisa Fabbri) who has overheard what Roberto thinks he has done.
With little money and few options, Roberto asks for some help from his artistic friend Godfrey (Bud Spencer), who immediately points to two people who can better help, con-artist The Professor (Oreste Lionello) – who will act as an exterior bodyguard patrolling the property, and Gianni Arrosio (Jean-Pierre Marielle) – a gay private eye who has never been able to solve a single case. . . though when hired, almost instantly finds a weird clue leading to a mental institution.
Soon, acquaintances related to the couple start turning up dead. . . though their lousy and awkward Postman (Gildo Di Marco) seems to show up at bizarre times – dare I say, once a day. Also oddly enough, Nina’s cousin Dalia (Francine Racette) drops by and asks to stay for a while. . . just as Nina’s considering fleeing the situation. It also doesn’t help that Roberto starts having graphic nightmares of a beheading that he feels might be highlighting his impending doom. Can Roberto’s ragtag team of recruits keep him safe and solve the case? Was everything on the up and up when it comes to that perplexing murder? Could the tormentor know Roberto. . . and, if so, what is their connection? And what are we to make of that jarring nightmare?
Beautifully shot by Argento and expertly edited by Françoise Bonnot, this combo builds plenty of atmospheric suspense by way of the camera locations/movements, the mesmeric settings, its moody lighting, and the sometimes jarring editing. Though the ending might leave some a bit underwhelmed – feeling that there are not enough true hints (it also has some added tech wizardry that might make it a bit too farfetched), you certainly can’t deny that all these other great details go into building up some impressive thrills. It’s worth making note of a tense scene set in a park at night, the aforementioned music hall, as well as several of the sequences set in their own house, as they are all standout moments.
Matched by an effective score by the great Ennio Morricone, Argento originally thought he had procured famed rock band Deep Purple, but as they were departing on a lengthy world tour, it just wasn’t feasible. Nonetheless, Morricone captures a sound that truly stands out, featuring some catchy rock, memorable drumming, and plenty of suspenseful notes along the way. Despite all its splendor, this was the film that led to Argento and Morricone arguing over creative differences and not seeing eye to eye, which led to a breakup that lasted almost twenty-five years.
Also, it’s worth noting that there are some nice touches of quirky comedy throughout. Not only is there a bizarre scene that takes place with people sampling coffins on discount, but there are also some campy moments revolving around the Postman and the Private Investigator.
Despite some flaws, Four Flies on Black Velvet is still a mesmeric mystery thriller. Featuring many memorable twists and turns, the casting process also faced some wild changes along the way – as Terence Stamp, Michael York, James Taylor, and Ringo Starr were all considered for the leading role (though due to many different reasons, they were not cast/and or refused the job). So, marry this musing murder mystery, just remember to keep your head.
This film can be watched in Italian with English subtitles or in dubbed English