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A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

The Christian religious service of 'Tenebrae' involves the gradual extinguishing of candles, while a series of readings and psalms is recited; Matins and Lauds.In 'Tenebre', there are two separate characters who suffer from impaired vision. Detective Giermani tells writer Peter Neal that he is a big fan of "Agatha Chrisite, Spillane and Ed McBain…" however he goes on to reveal that he has never been able to solve the identity of the killer in any of their stories. This continues into real life as the corpses pile up with Neal standing in plain sight. Neal with a traumatic event in his youth hinted at, responds to a series of murders by becoming a killer himself. He introduces the theme of impaired vision when he admits to Giermani: "I've tried to figure it out, but I just have this hunch that something is missing, a tiny piece of the jigsaw. Somebody who should be dead is alive, or somebody who should be alive is already dead." Of course Neal, who is promoting his latest book 'Tenebrae,' is the 'missing piece,' and in the end he will become the 'somebody who should be dead.' In flashback a sadistic temptress is stabbed to death; this acts as the catalyst for the murders in the film. In the present day, the first victim is a sexually promiscuous shoplifter, and the next two are the lesbian reporter and her bisexual lover. The flashbacks are introduced repeatedly throughout the course of the film, usually immediately following a murder. The first reveals a beautiful young woman's sexual bullying of a teenage boy (whom we later presume is Neal). The second is a revenge-murder of the same woman. There is a doubling between Neal and Giermani, as Giermani reflects Neal even as Neal takes on his role as investigator. The detective/writer and the writer/detective each belittle the other. In what is one of the best pieces of 'shock' ever put on celluloid, Neal and Giermani become one (momentarily) when Neal memorably dispatches the Detective; "in a shot that is as schematically logical as it is logically outrageous" (McDonagh). The reveal of the killer as the hero bends down was borrowed from Argento's own 'The Bird with the Crystal Plumage', as is the climactic murder by art in which Dalmas was trapped beneath a large pointed sculpture.Although 'tenebrae'/'tenebre' means 'darkness' or 'shadows,' Argento tasked his cinematographer Luciano Tavoli with filling the screen with as much light as possible. Tavoli had worked on 'Suspiria', and had also worked with Antonioni on 'Chung Kuo-China' (1972), 'The Passenger' (1975), and the first feature shot on video 'The Mystery of Oberwald' (1981). The day scenes are brightly lit, and the interiors harshly over lit; the film is shot with clear 'cold' light, permeating the surroundings. He was deliberately breaking with the legacy of German Expressionism.Fritz Lang's Beyond a Reasonable Doubt (1956) comes to mind when considering Argento's influences; film-noir at its most paranoid often finds Lang not far away. '…doubt' finds a man convicted of murder on false evidence who in fact is guilty of the crime. Roy William Neill's legendary film- noir Black Angel (1946) is even more remarkable, where a man tries to clear a murder suspect, but doing so will be at the cost of learning that he himself is the killer. An argument could be made for 'Tenebre' being one of the most important 'non-Hitchcock' films De Palma has seen; the 'Louma' crane sequence is clearly a key influence right down to the music in 'The Untouchables' (1987). More obvious still is the 'Raising Cain' surprise reveal of the killer standing behind the victim. Robert Zemeckis' 'What Lies Beneath' (2000) contains a similar moment, although Zemeckis has denied having any familiarity at all with Italian 'Giallo'… more's the pity.Successful and released without incident in Europe, 'Tenebre' was classified, prosecuted and banned as a 'video nasty' in the U.K, and the film had five minutes of 'sexualised violence' cut prior to its theatrical release. Its U.S distribution was delayed for two years, then only in a heavily censored version under the title 'Unsane.' Approximately ten minutes shorter, losing scenes that established the characters and their relationships that make it difficult to follow, it received a mostly negative critical reception.Critic and Argento expert Maitland McDonagh has described 'Tenebre' (as opposed to 'Unsane'), as "the finest film that Argento has ever made."

Back when Dario Argento loved the smell of fresh celluloid in the morning, a film like Tenebrae could come out. It was the peak of his powers as a filmmaker, coming off of work like Suspiria and Inferno, he decided to once again make a hardcore 'Giallo' (Suspiria and Inferno diverge a bit, though still have the tropes). If you look at it, the story isn't that so much different than other films of his: a character, or a couple of them, our heroes, are in Rome or Italy someplace and a killer-with-black-gloves (that's all we see, naturally) is killing people, and the cops are on the case and the case also involves these characters, and the hero/es try to figure out the murders themselves - this despite how relentlessly grisly and gory they can get. In this case in Tenebrae, the story surrounds a celebrated author of horror-thriller books (Anthony Franciosa), who is in Rome to promote his new book of the title, and murders are happening that are connected with his material. At first he tries to ignore it, but gets drawn in inexorably as does happen. But not all is what it seems.Tenebrae - or "Unsane" as it was called for a while in the US - is Argento going the route that sometimes creators of pulp like this went into: think Stephen King with Misery, a story of an author who is stalked by a fan, for example. But for Argento, the kills don't all have to be people we've followed diligently throughout the film; indeed the first person killed is just a would-be shop-lifter who wanted a copy of the book in a store, and is stalked home and stabbed by the killer (after an uncomfortable but sort of darkly funny scene with a mangy old man trying to fondle her I guess), and the pages of the book are crumpled in her mouth before the throat gets slit. Oh boy.Or take the girl who we do get to know a bit and like, the daughter of the manager at the hotel Peter Neal is staying at. In probably the most intense and masterful sequence in the film, or at least one of them (and, again, sometimes with dollops of absurd comedy), she gets in an argument with the boy she went with for the day, is out by herself at night, and a dog - a rotweiler of course - wants to attack her, jumps over a high fence, and proceeds to chase her, occasionally bite her (them she gets him away), and then runs some more. She then happens upon the killer's domain - how she gets there and how she gets inside is just one of those contrivances, go with it, it's a movie silly - and then more stalking happens from there. The quality of horror is so high and disturbing that it made me ask a frightening question of logic: what happens to the dog after she goes inside the lair? We may never know...Argento's only faults here, and they should be noted, are the familiarity aspects - the scenes with the cop explaining things with Peter Neal back and forth are alright, but he's just alright as an actor, maybe near the end he tries more, he's there to give exposition and figure things like a Detective Movie Character does - and just part of the ending. I can't go into it without really spoiling things to high heaven, however suffice it to say the killer is revealed (in some part), and then it kind of feels disappointing as more exposition and other things about the killer are revealed that we, as the audience, already know and don't necessarily need to be shown twice.... but even this is excusable, perhaps like the ending of Psycho, for suddenly how twisted the final moments after this reveal turn things on their heads. This is clearly a filmmaker having so much fun, and in LOVE with filmmaking.It may not have always the same stylish tenor of Suspiria or Deep Red. At the same time, there's rarely a moment I don't see Argento working out psychological quandaries here and twisting them into trashy ways. He's also making a very sexual film in many scenes - there's more nudity than I can remember than from any of his films, and certainly some buxom ladies at that, occasionally to comical lengths like with the prostitute in the lesbian house - and there is one particular crane shot that, arguably, shouldn't exist. This sequence could be told without it, you might suggest. Hell with you, Argento says, and does it HIS way, in a manner that is so elaborate that you can't help but be with the movement of it, especially as Goblin, the director's preferred and awesome devisers of the synth-macabre, make it even more epic.This is a filmmaker who wants to REVEAL things is elaborate and twisted ways, and when the violence really flows it can be shocking; one woman is killed in such a way that isn't so much fun as disgusting, but it's part of the point. Truffaut once said that he wanted to feel a director's love or pain while watching a film, with little interest in the in-between parts. Argento's on fire with Tenebrae, with his thin-but-sometimes-bold characters, occasionally with flashbacks - where Franciosa winds up shouldn't make sense, and at the same time there is a demented logic to it that you can go with in this filmmaker's hands - and his exquisite (yes, deliciously done) set pieces. If you're going to put the audience through suspense, at least know where to point and get the camera for maximum effectiveness. Tenebrae is effective and cracked Italian Horror viewing, filled with ridiculous peril and the joy of terrifying an audience.

I just got done watching this mess of a film and felt that I just HAD to write a review on it. Why does this film have such a high rating? The acting is horrible, the editing is rotten and the "twist" I figured out within the first fifteen minutes. Other users talk about how bloody this movie is and the amount of nudity is in it. I must have been watching a whole different version because the one I was watching had very little nudity and hardly any blood, except at the end, and a victim has her hand or arm cut off, not in the version I saw. I watched a version called Tenebre, not Unsane, on Amazon Prime and it said it was unrated but I think it was HORRIBLY cut. I have watched only one other Argento movie and that being Cat O'Nine Tails and that one was bad as well. I saw that this movie had such a high rating from viewers that I should give it a try. WRONG!!! I've seen better acted movies from Troma films. If this is what Italian Gallo is, I'll just stick to my American films.

As a long time Argento fan I have seen most of his work, but for some reason this film has been off my radar until recently. I have to say though after a recent viewing (I have now seen it twice), this may be a masterwork. Susperia and Deep Red may have street credit, but for my money, THIS is the one that is the true giallo.It keeps the viewer wound up until the end. It is TRUE suspense. I am a grown man, who has seen all matter of exploitation, but true tension takes skill and that is exactly what Argento delivers in Tenebre. As the film moves on the suspense and levels build so high as the mystery of the whodunit unravels I literally had to get up and take a peepee break. If you are a fan of Argento and haven't seen this you must now. Also fans of Hitchcock and De Palma would be interested.The film is a high wired dance of the macabre. With excellent photography as usual from this bunch, featuring a 2 and half minute tracking shot which took 3 days to film. There are occasional times when plot elements seem far fetched, but that's a giallo for you. You have to suspend very little disbelief to enjoy this one, and when you do, you are thrust right into the jaws of an angry barking dog. See this.