An anorexic young woman escapes from a psychiatric clinic and meets a young man who wants to help. She is caught and returned to her parents, who are soon beheaded by a garrotting stranger making the rounds about town... more », apparently striking only when it rains. The orphaned young woman and her new lover launch their own investigation and are endangered when a link is discovered with the victims and a particular operation performed years before.« less
"Why are there reviews for this release that date 3 friggin years ago?? This is a totally different release with the uncut footage, widescreen transfer, extras whatever. If you like Argento get this, you won't be disappointed it is good whether or not it's his best. Don't listen to people that haven't even watched this cut of the film."
Not Argento's best by any means, but not awful.
Robert P. Beveridge | Cleveland, OH | 02/07/2006
(3 out of 5 stars)
"Trauma (Dario Argento, 1993)
Dario Argento has been making stylish, intelligent thrillers for four decades now. As is to be expected with a director who has close to twenty films in the can, his output has been a little inconsistent over the years. Trauma is on the up side of things, but it's not one of his best efforts.
David Parsons (For the Boys' Christopher Rydell) is an ex-junkie working as an artist for the local TV station. On his way home from work one night, he sees Aura Petrescu (Asia Argento of xXx and b.Monkey) getting ready to jump off a bridge. He stops her and convinces her to go for coffee with him. This does not work well, and she is accosted after running away from him. She is taken back home to her parents, spiritualists Adriana (Carrie's Piper Laurie) and Stefan (L'Ange's Dominique Serrand) after begging her accosters not to take her back to the Faraday Clinic, from which she had escaped just before the suicide attempt. On her first night home, however, not only do her parents call the clinic's head, Dr. Judd (Frederic Forrest, of Hammett fame), but during a séance, a series of confusing events occurs that leads to Adriana and Stefan's death. With nowhere else to turn, Aura goes back to David, and the two of them try to figure out who the killer is before he gets to Aura.
While the cinematography is pure Argento, much of the rest of the atmospheric trappings that make Argento films so wonderful are missing; most notably, the music is nowhere near the quality Argento got when working with Goblin. But a thriller doesn't have to be an Argento film to be good. How's the rest of it? The acting is a mixed bag; Frederic Forrest, especially, is painfully bad, the polar opposite of the brilliant, engaging actor who made Hammett such a treat. Piper Laurie reprises here Carrie role well, and while Argento's acting is not on par with movies she would make later in her career, she's acceptable. Brad Dourif also scores a role that's little more than a cameo, but he milks it for what it's worth. The plot can be a bit on the confusing side if you're not paying close enough attention, so be warned, but it does all come together in the end.
What will most disappoint diehard Argento fans, likely, is the almost complete lack of gore. Blame Argento's having made this film in America. He does get away with a decent amount, but it's a far cry from Profondo Rosso or even Non Ho Sonno.
All that said, I rather liked it; certainly more than I expected to, given the generally negative views of the film one finds in various places on the net. It'll probably be enjoyed more by those who aren't already students of Argento than those who are. ***"
Dario Argento's Trauma.
Puzzle box | Kuwait | 01/24/2006
(3 out of 5 stars)
"Well I thought that this film was just average, although the film can be quite silly its still good and Dario has a different style of directing this time so its a departure from his usual style that he used before. The story is about a distraught anorexic played by Asia Argento whose life turns upside down when she witnesses the murder of her parents including the decapitation of her psychic mother played by Piper Laurie I must say that her performance was way over the top check out that hilarious sceance. Soon Asia's character must uncover the serial killer's identety before its to late, she is also joined by a T.V. journalist who both investigate the crime together. Despite the film being shot in the U.S. it still has an Italian tone to it making it a combination of American and Italian gialo. The killer uses a particular device that is used to decapitate his victims which I thought was awsome. Overall I think you should check it out especialy if your an Argento fan like myself but I didn't think that it was his best effort."
babydollwitch | USA | 12/31/2005
(3 out of 5 stars)
"While not his best work of course, I enjoyed this film. I am an Asia fan and she did a good job here. It's different than his previous work of course, but it really kept my interest and was entertaining. It's worth a watch."
Below Par Argento, But Still Worth a Watch
Shaun Anderson | Nottingham/Hereford, England, UK | 02/09/2007
(3 out of 5 stars)
"Throughout the 1990's the output of Italian horror specialist Dario Argento began to increasingly look as though it was tailored for his daughter Asia. This tailoring also coincided with a general downturn in both quality and inspiration. The three films he made with Asia "Trauma", "The Stendahl Syndrome" and "Phantom of the Opera" are all quite notable for an unusually dour and drab visual quality. Argento regularly took liberty with his narratives, but even by Argento standards this trilogy of below par films are riddled with absurd contradictions and discontinuities. Of the three I prefer "Trauma", simply because like "Opera" before, it is based on a very good method of murder and is aided by some notable actors. Like most post 1980 horror films it is basically a series of set pieces connected by a gossamer thread of narrative, in this case a lot of nonsense involving dead children and vengeful mothers. Unlike other Argento efforts the culprit of much decapitating chaos is screamingly obvious, and the whole thing unravels into a rather a soppy love story. Asia Argento is given much material to work with; anorexia, a psychopathic mother and suicidal tendencies, she does little of note with this potentially intriguing material and neither does Dario. The usual bag of tricks are present (subjective camera angles - even from the P.O.V of a butterfly!! And well executed death scenes), but at this point in Argento's career one can't help thinking he'd lost the plot a bit."