Four Flies on Grey Velvet

The drummer of a rock and roll band Roberto Tobias (Michael Brandon) sees a man wearing sunglasses stalking him everywhere. He follows the man to a derelict opera house and when he confronts the stranger, he pulls a knife. However Roberto accidentally stabs him in self-defense and the man falls from the stage to the floor. Out of the blue, a spotlight is turned on and Roberto is photographed in the crime scene by a masked person on a theater box. Roberto leaves the place and returns home. On the next morning, he reads the newspaper the news about a stranger called Carlo Marosi that was murdered. During the night, Roberto and his wife Nina (Mimsy Farmer) welcome friends and Roberto finds a photo of the previous night entwined with his vinyls. He tells the truth to Nina and their maid Amelia (Maria Fabbri) overhears the story. While Robeto meets his friend Godfrey (Bud Spencer) to ask for help, Amelia schedules an encounter in the park with someone to blackmail with the photos she had found in the apartment; however Amelia is murdered in the park Meanwhile Nina's cousin Dalia (Francine Racette) arrives to stay with Nina. But soon Carlo Marosi appears eating at a restaurant and calling someone to meet him. What has happened in the opera house?

"4 mosche di velluto grigio" is a flawed film with am intriguing title. The atmosphere is suffocating most of the time; the camera work uses unusual angles and positions; the cast has good performance. But the plot point with the identity of the killer is weak and quite senseless. My vote is six.

Title (Brazil): "Quatro Moscas Sobre Veludo Cinza" ("Four Flies on Grey Velvet")

'Four Flies On Grey Velvet (1971)' is the last instalment in Dario Argento's so-called 'Animal Trilogy', and it was apparently initially intended to be his Giallo-genre swan song. Thankfully, he subsequently decided not to abandon the genre he's so readily associated with. The film doesn't feel like the product of someone fed up with a framework they've helped define but are also trapped by, but rather as an attempt to widen the boundaries of said framework. At the same time, it is a very classic Giallo and it arguably suffers from not having the same strong aesthetic of Argento's later work. The story starts out strong by inverting the typical inciting incident: instead of the protagonist witnessing a murder, someone witnesses him committing one. Our strangely blasé hero must then try to figure out exactly who that was, because they begin to blackmail him without actually demanding any money. It's definitely a strong premise, but unfortunately it sort of gives way under the pressure of the generally loose plotting. The lead character kind of just takes everything in his stride, taking way too long to actively try and alleviate his situation. Even then, the steps he takes to get the better of his blackmailer are kind of vague, and the blackmailer themselves doesn't really seem to have a plan that's all that solid. It all just seems to be spinning its wheels somewhat. However, its elements of soft pseudo surrealism are kind of compelling in their own way, as are its bouts of unexpected broad comedy. It's always fairly entertaining, even when it's at its least propulsive. The opening and closing movements are notably better than the midsection, too. Ultimately, this is a solid Giallo thriller that may be one of Argento's weaker efforts, but is still a fair bit of fun throughout.

"Four Flies On Grey Velvet" is surely an odd, truly bizarre film, even by Dario Argento standards. In my opinion however, it most definitely is not a bad film, much less one of Argento's worst. Much of what is said about the film, by critics and fans alike, seems (to me) to wrongly condemn it. I definitely can understand why one might be frustrated by this film, but I don't believe that's a reason to reject it completely. Some may feel the acting and/or story isn't all that good. I would respectfully disagree. I feel the acting is strange and aloof, but I believe that it works in favor of the film; and the story is confusing, but that is typical for an Argento film, and as a viewer, I appreciate not being handed all of the answers on a platter. Perhaps what repels many viewers is consistently being displaced espacially within the film context; that is to say one (the viewer and/or the characters) doesn't necessarily always know where one is within the "reality" of the film or how one got there. Here, in what is perhaps Argento's most abstract film to date, the director makes some very bold, disarming choices with editing; choices I believe serve a greater purpose and add chillingly to the effectiveness of the film. For instance, the sequence in which the protagonist (Michael Brandon) is driving to the office of a private investigator. Shots of him driving in his car to the office are quickly intercut with gliding POV shots approaching the office building, going up the stairs, nearing the office door. The effect is that of feeling as if he is literally driving up the stairs and down the hallway to the office door, creating a tense and strangely humorous sequence of events. This editing technique, prevalent throughout the film, is surely a forceful presence and I suppose could turn off some viewers. Regardless of the editing, the atmosphere and visual punch of the film is pure Argento, albeit an Argento who was still developing his technique and discovering his style. There are many beautiful and stunning visuals to be appreciated, including the violent, shocking ending sequence and a very creepy chase scene in an otherworldly city park. My favorite visual flourish in this film is the reoccuring nightmare had by the protagonist, in which a Middle Eastern execution is taking place in a bleached out desert dreamscape; thoroughly chilling. A frantic, highly enjoyable score from the master Ennio Morricone adds greatly to the proceedings as well. I really like this film, despite whatever flaws it may have, and have but one question for anyone who thinks "Four Flies On Grey Velvet" is (one of) Argento's worst... "Have you seen "The Five Days Of Milan" or his "Phantom of The Opera"?

Definitely not for everyone's tastes, but a certain must for any Argento fan, Euro-horror fan, or anyone who just really wants to be daring and see something totally different.

A musician (Michael Brandon) is stalked by an unknown killer who's blackmailing him for an accidental killing of another stalker. But is everything what it appears to be?

The film opens with a great shot of drums from overhead and a beating heart, knowing that Argento is in the middle of his most stylistic period. Even the man with white gloves and disturbingly childish mask taking photographs is classic Argento.

I liked the concept of the images burned on to the retina, and I enjoyed the humor of having a character named "God" and the "Hallelujah" chorus. This being the last Ennio Morricone score in an Argento film was not lost on me, as the musical style shifted greatly after this one. (Not necessarily in a bad way -- Goblin and Simonetti are incredible.)

I was surprised to see homosexuality being so openly discussed in a film from this year. Maybe in Italy it was more acceptable than in America? Either way, an interesting addition.

"4 mosche di velluto grigio" aka. "Four Flies on Grey Velvet" is the last film in Dario Argento's animal trilogy, which also includes the brilliant "Bird With The Crystal Plumage" (1970) and the very stylish "Cat o' Nine Tails" (1971). This is certainly Argento's oddest film, and also by far the least widely known of his Gialli. While certainly not one of Argento's masterpieces, this strange, and highly interesting flick is nonetheless more than worth tracking down, for a variety of reasons.

When rock drummer Roberto (Michael Brandon) wants to take a guy to task who has been following him for days, the guy threatens him with a knife, and in the subsequent scuffle, Roberto accidentally stabs the guy to death. The incident is photographed by a masked psychopath, who subsequently begins to stalk Roberto and people close to him... Sounds like the beginning of a typical Giallo, but, apart from the typical formula of a mystery killer, murders from the killer's perspective, etc., this film differs from Argento's other Gialli in a variety of aspects. This is partly a very comedic Giallo, that, in some parts even features absurd slapstick humor. Several characters are purely satirical, such as a (very) gay private eye, or a sarcastic writer who likes narrating bizarre short stories. Another supporting role is played by none other than the ass-kicking cult actor/comedian Bud Spencer! The superb score by maestro Ennio Morricone is one more reason to watch this film. Dario Argento is one of my all-time favorite directors, and while "For Flies On Grey Velvet" is certainly not one of his highlights, it is definitely a weird and highly recommendable film that my fellow Italian Horror fans should not miss!