Realização:
Lucio FulciArgumento:
Lucio FulciCâmara:
Sergio SalvatiMúsica:
Pino DonaggioElenco:
Patrick Magee, Mimsy Farmer, David Warbeck, Al Cliver, Dagmar Lassander, Lucio Fulci, Bruno Corazzari, Daniela DoriaConteúdos(1)
Psychic medium Professor Robert Miles (Patrick Magee) lives a bitter life of solitude with the exception of a black cat, to which he has managed to forge a companionship in lieu of the feline attacking him at every turn. He's paid a visit by a young photographer named Jill Travers (Mimsy Farmer) whom wishes to return a piece of the professor's equipment she has found in an underground tomb. Miles wastes no time in attempting to hypnotize the woman, but is interrupted by the pestering cat as it inflicts deep scratches into the man's hand. Jill responds with a hurried exit, and soon after meets Inspector Gorley (David Warbeck) who employs her as a crime-scene photographer in the investigation of a rash of fatal accidents that have recently befallen the sleepy village. She discovers cat-like scratches on one of the hand of one of the victims, and soon learns that a black cat has been present during all of the incidents. Curiosity leads the photographer back to Miles' estate, where she learns all too agonizingly the history of the old man's estranged relationship with the black cat. (texto oficial do distribuidor)
(mais)Críticas (2)
Se não houvesse zooms dos olhos omnipresentes, nem sequer reconheceriam Lucio Fulci neste filme. Um thriller com um argumento organizado e o mínimo de sangue, filmado numa aldeia inglesa. Mistério subtil em torno de um gato preto e do seu dono, herói - detetive, heroína - jornalista, e a gradual revelação do mistério em torno dos assassinatos cometidos pelo gato mencionado. Uma das obras mais convencionais mas dentro do mainstream, também uma das obras mais sólidas de Fulci. Bem conseguido em termos de atuação, imagem e música (o profissional Pino Donaggio). O único problema é a falta de tensão real. É um pouco aborrecido em certas partes.
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Lucio Fulci's last really good film. His typical eye fetish is taken to the extreme here (I'm not lying when I write that there are a good 30 close-ups of eyes), but the plot makes a lot of sense, as it's based on a good short story by E.A. Poe (some of whose motifs were successfully flirted with by Roger Corman in the 60s), some of the murders are laughably naive and some are solidly executed, and there's a really decent soundtrack for Fulci's films. As for the violence that is so typical of Fulci, it’s not so naturalistic, and he’s relatively sparing with the blood, though he coaxes the whole thing with the insight of a reliable craftsman.
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Galeria (9)
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