(Italy - 1990; US release 1991)
Directed by Dario Argento and George Romero. Written by George Romero, Dario Argento and Franco Ferrini. Cast: Harvey Keitel, Adrienne Barbeau, Ramy Zada, Sally Kirkland, Martin Balsam, E.G. Marshall, John Amos, Kim Hunter, Madeleine Potter, Bingo O'Malley, Tom Atkins, Jeff Howell, Holter Ford Graham, Julie Benz, Christine Forrest, Chuck Aber, Anthony DiLeo Jr., Tom Savini. (R, 120 mins)
In its earliest stages of development, TWO EVIL EYES was intended by producer Dario Argento to be a four-part anthology horror film celebrating the work of Edgar Allan Poe, with the Italian master of horror joined by fellow genre legends George A. Romero, Wes Craven, and John Carpenter. By the time production began in Pittsburgh in the summer of 1989, Craven and Carpenter bowed out, leaving Argento and Romero as the remaining participants, each helming a present-day Poe segment running approximately one hour in length. TWO EVIL EYES was supposed to be timed with the ill-fated Poesploitation craze of 1989, which primarily saw rival producers Roger Corman and Harry Alan Towers cranking out a series of Poe adaptations in honor of the 140th anniversary of the writer's death (this included two competing versions of THE MASQUE OF THE RED DEATH). Most of these films weren't released until 1990 or 1991, thereby making the anniversary element pointless, and that went for TWO EVIL EYES as well. While it debuted in Europe in January 1990, it wouldn't hit US theaters until much later in October 1991, courtesy of Taurus Entertainment, who gave it a limited release on just 150 screens. Though an Italian production and Argento's baby, both segments of TWO EVIL EYES were shot in Romero's Pittsburgh stomping grounds, with the beloved NIGHT OF THE LIVING DEAD auteur providing his usual behind-the-scenes crew for Argento to use, including production designer Cletus Anderson, editor Pasquale Buba, and makeup effects maestro Tom Savini. Though he did some location work in Central Park for 1980's INFERNO, TWO EVIL EYES marked the first time Argento shot an entire project in the US, and he would return to the States for 1993's TRAUMA, which found him unable to create much of a stylish giallo atmosphere in exotic Minneapolis.
score sorta helps). Regardless of its flaws, Romero's "Valdemar" has the more relatively crowd-pleasing ending, but "The Black Cat" never gets around Keitel being completely wrong for the part. He's a weirdo from the start and it's hard to grasp why Annabel is even interested in this creep, but Keitel makes the mistake of overplaying it early and underplaying it later. He's screaming "I didn't do anything!" immediately after murdering the first cat in a way that only a guilty person would, but later on, when he's being driven batty by the phone and all of the meddling interlopers, he suddenly seems half-asleep, mumbling and morose. It's a strange, mannered performance that never finds the right tone, and it's all the more perplexing because Keitel is one of our great actors, though given the track record of both of them, it's not hard to imagine Keitel and Argento not getting along. Horror fans would've gone to see TWO EVIL EYES in theaters had it been playing anywhere near them. Romero was in his commercial Hollywood phase at the time, between MONKEY SHINES and the Stephen King adaptation THE DARK HALF, and Argento's notoriety among American horror enthusiasts was significant even though much of his work was still difficult to see in the pre-DVD era (his 1987 film OPERA had finally been given a straight-to-video release just a month earlier in September 1991, retitled TERROR AT THE OPERA), with his post-1990 output showing some wild inconsistency that morphed into a precipitous decline from the late '90s onward that continues to this day. TWO EVIL EYES opened the same weekend as HOUSE PARTY 2 and CURLY SUE, but landed in 17th place and was out of theaters a week later, leaving most Argento and Romero fans to discover it in video stores. It doesn't represent either filmmaker at their pinnacle--for that we'd have to go back to 1979 when SUSPIRIA-era Argento helped finance DAWN OF THE DEAD, got Goblin onboard for the score, and recut the film as ZOMBI for European audiences--but it's entertaining enough to make it required viewing for superfans and completists.
|George A. Romero and Dario Argento on the set of TWO EVIL EYES|