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Category:    Home > Reviews > Thriller > Mystery > Dario Argento’s “Do You Like Hitchcock?” (2005)

Dario Argento’s “Do You Like Hitchcock?” (2005)


Picture: C+     Sound: C+     Extras: C     Film: C+



Dario Argento has made a name with his stylish, bloody thrillers, even being compared to Alfred Hitchcock.  It is one think to be compared to an all-time master like Hitch, whose influence even extends to Stanley Kubrick, but Argento’s attempt to address Hitchcock’s work in Do You Like Hitchcock? (2005) has very mixed results.


In an attempt to be slightly deconstructive, Argento gives us the early years of voyeur Giulio, who goes on to become a big film fan (especially of Hitch) and voyeurism is part of it.  Now, there is a murder on the loose and how will he figure into the bloodbath.  Fortunately, Argento stays away from the supernatural, which Hitch and De Palma would only hint at at best.  However, the film cannot stop feeling like a would be, wanna be Blow Out without a point.  That is one of De Palma’s best works, but this film cannot come close.


After showing posters and videos of so many key Hitch works, the film then tries to revisit as many as possible in its 93 minutes, but the result is more like if Mel Brooks’ Hitchcock satire High Anxiety (1978, reviewed elsewhere on this site) that was not a comedy and did not work.  Considering Hitchcock is only rivaled by Spielberg as the most imitated director ever, the film feels tired on arrival.  After awful remakes of Psycho and Dial “M” For Murder (A Perfect Murder), as well as every other great Horror film possible being recycled in the worst possible way lately, this never works.  It lacks energy for an Argento film and any references to Giallo films, including in its lead character, are too obvious.  The answer to the title is yes, so just watch his classics (or better De Palma and Argento films) instead.


The anamorphically enhanced 1.66 X 1 image may be from a recent film, but is lacking in detail and a bit of depth for whatever reason.  Cinematographer Frederic Fasano has worked with Asia Argento and in several TV projects.  There are deliberate attempts to imitate shots in Hitchcock films, but they all fall flat and do not help the film much.  The use of color is only so interesting here.  The Dolby Digital 2.0 Stereo has weak Pro Logic surrounds, but plays back well enough.  Argento got Pino Donaggio, who worked on some of Brian De Palma’s best Hitchcockian films to score this one, but that does not help the film either.  Argento is good, but not as good as De Palma at his best.  Extras include a text bio on Argento and brief making of featurette.



-   Nicholas Sheffo


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