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ACTOR
Lorenza IndovinaClaudio SantamariaRolando RavelloAndrea Di Stefano
DIRECTOR
Alex Infascelli
SYNOPSICS
Almost Blue (2000) is a Italian movie. Alex Infascelli has directed this movie. Lorenza Indovina,Claudio Santamaria,Rolando Ravello,Andrea Di Stefano are the starring of this movie. It was released in 2000. Almost Blue (2000) is considered one of the best Thriller movie in India and around the world.
A serial killer, called the Iguana, is terrorizing Bologna. He is able to change continuously identity. Grazia is investigating trying to find out the truth about the Iguana. Only a blind boy obsessioned by "Almost Blue", a jazz song, could help her.
Almost Blue (2000) Trailers
Same Actors
Same Director
Almost Blue (2000) Reviews
Almost Blue - not even almost good!
I actually had really high hopes going into this thriller as the fact that it was made in Italy made me expect a Giallo, and because I'd heard good things about it; I was expected a quality modern example of one. This film is not a Giallo; there's police and a hunt for a killer, but it's clear that director Alex Infascelli wanted the focus more on the 'psychological' elements of the story; but instead of coming off like 'Seven', the film is more like the Seven rip-off 'Taking Lives' - just not as good. I guess the killer's name - 'The Iguana' should have made me guess that this film was going to be crap as the last Italian film I saw that mentions an iguana was Riccardo Freda's awful 'The Iguana With the Tongue of Fire' - but actually, said film is better than this one! The plot is entirely mundane and simply follows a string of brutal killings. The cops can't seem to find the killer, because unbeknownst to them he constantly changes his identity. Blah blah blah, the only lead is some blind kid who likes a song called 'Almost Blue'. The film actually gets off to a decent start as we see the killer typing on a keyboard smeared with blood while his unfortunate victim sits chocking in the same room. it's all downhill from there, however, as the mundane and routine plot is almost completely devoid of interest; the part that sees the main character work out why The Iguana is so difficult to catch is the only real moment of intrigue, and director Alex Infascelli seems keen on spoiling the atmosphere at every turn by using lots of dreary rock music. A psychological thriller really needs a good atmosphere for the story to flourish...it's a shame that Infascelli didn't realise this. The only thing I liked about this film was the lead actress. Lorenza Indovina is always nice to look at, and if it wasn't for her, I'm not sure I'd have been able to make it all the way through the short, but boring, running time. It's always obvious where the film is going, and indeed the ending contains no surprises, which is yet another shame. Overall, I'm not sure why this film has gotten positive write-ups, but it certainly doesn't deserve them and Almost Blue is not worth tracking down.
A close parent of "Manhunter".
The film tells the story of a hunt for a serial killer in Bologna, Italy. "Almost blue" is closer of "Manhunter", by Michael Mann, than many other "serial killer movie". The story focuses more on the psychology of the three main characters, the police officer who leads the search, the disturbed killer, and the blind guy that somehow helps the police, than on action and intrigue. There's a lot of violence and disturbing images, but, it seems to me, they were functional to the feeling of anguish and anxiety of the movie and they were not at all put in the movie just to shock the audience. An unusual feature for an Italian movie, the film has a very high cure for its visual and sound style and for keeping a coherent narrative tone from the beginning to the end.
An interesting analysis of the killer.
We first see the Italian production's unnamed villain sitting at a computer while a male victim lays bleeding to death. The violence in this sequence is overt and detailed. Note how the director filmed the killer's bloody feet being inserted into his tattered sneakers; the very image makes clear the grimy, thoroughly engaged nature of the murderer's pathology and, thus, makes it difficult for the audience to become attached on a personal level. While Almost Blue appropriates the psychology of other cinematic antagonists (Red Dragon comes to mind), the filmmakers chooses to invest less in the killer as an individual, and instead reveal key aspects of his personality through harsh details. For example, the antagonist walks the streets with grating, generic heavy metal music blaring into his head via a pair of earphones. This device becomes unsettling only when the camera assumes his POV and the music obliterates all other diagetic sound. The effect is to reveal his thoroughly detached nature, as well as to provide a cruel metaphor for the killer's mentality. The director seems to be saying, "This is what's inside his head." Almost Blue ultimately bears the distinction of showcasing one of the more interesting serial killers in the movie canon.
A Nutshell Review: Almost Blue
There's a serial killer loose in the Italian city of Bologna, and from the get go, we're introduced to the aftermath of a very brutal killing in the hands of a psycho, with a preference for extremely loud music played through his headphones. I thought the killer here is very much like the one in the 2004 film Taking Lives starring Ethan Hawke and Angelina Jolie, where the murderer lingers and adopts the persona of the person he kills, before moving onto the next victim. In essence this is your classic cat and mouse thriller that explores the links between the three leads in rookie policewoman Grazia (Lorenza Indovina), the psycho killer played by Rolando Ravello to Aamir-Khan-Ghajini's crazed perfection, and the blind man Simone (Claudio Santamaria), who gets caught up in the entire episode because he wilds his time away at his computer listening in to chatrooms, police scanners and what have yous, like an online busybody oracle. In doing so, he puts himself unwittingly in the line of fire as the killer decides to make him the next target. And so the premise is set, and I felt there's a truck load of potential here to at least live up to average thriller expectations. There was what I thought a perfect moment set up in allowing the audience's imagination to run wild with one killing - you can hear audible sighs of sorrow when the killer picks his mark, because while the character was nothing more than a supporting one, appearing only to nag, everyone understood instantly the impact it is going to have in the story moving on. The aftermath of that was nothing short of poignant, and that hammered home the notion of how evil is as evil can be. If there's a major letdown in the exciting build-up, it's how everything gets wrapped up in the end too conveniently and in major anti-climatic fashion. Big clue being the need to adopt the persona, and having everyone turn up at the right place at the right time, with room for some sexy time thrown in as well for good measure, just because it's Gialli. It turned what could have been room for a tight, climatic finale into a joke of convenience probably stemming from a lack of ideas. Great build-up, but terrible finale.
Straight
A straight thriller with everything it needs. Just like other great directors, Alex Infascelli has taken good ideas and inspirations from other movies and brought them here together. And so this film has one great moment after another just a wonderful mixture of awesome film citations becoming a particular thriller. The performance of the director and the director of photography is great. You do not see every day that kind of style, that kind of camera angles, you're just feeling like an observer. I do not understand why other directors do not have that courage to try new looks like that. In the end, I think so, we watch movies from young directors to see new things, not that kind of camera and performance that you have seen lots of times before.