As the century turned, Dario Argento had already earned the title of Master of Giallo, and while some would argue he’s done nothing in the 21st century to add to that legacy, he starts it off with a pretty strong entry. “Sleepless” (2001), co-written with Franco Ferrini and Carlo Lucarelli, is among his most satisfying mysteries, even if it falls short in other categories.
The plot elements are a greatest-hits compilation, as 17 years ago, a serial killer known as The Dwarf was found dead in a river and the killings ended. But now they seem to be starting up again, as The Dwarf’s paper animal cut-outs appear with the corpses and correspond with a nursery rhyme called “Animal Farm” – written by Argento’s daughter Asia (who surprisingly doesn’t act in this film).
Although some rate the dummy who jumps out of the closet in “Deep Red” as the scariest Argento moment, “Sleepless” goes deeper into the weirdness – and granted, political incorrectness – of a little person murderer. The fact that The Dwarf is also an author calls to mind “Tenebrae,” and a harp player’s formal concerts call to mind “Opera.”
“Sleepless” (2001)
Director: Dario Argento
Writers: Dario Argento, Franco Ferrini, Carlo Lucarelli
Stars: Max von Sydow, Stefano Dionisi, Chiara Caselli
Speaking of music, Goblin does the score for the first time since “Suspiria” (although most band members worked on “Tenebrae” too). Their bombastic prog-rock spices up some moments, although on no film other than “Suspiria” are they part of the main recipe rather than a spice. So we have an enjoyable score, but not one that moves the needle.
Von Sydow dwarfs his co-stars
Max von Sydow is among the biggest-name and best actors in an Argento film, playing Moretti, a retired chief inspector who had closed the Dwarf case and whose memory is hit-and-miss on the details. Von Sydow eases himself into the lower level of the overall cast, as Moretti teams with Giacomo (Stefano Dionisi), the now-grown son who had seen his mother murdered, and Giacomo’s harp-playing girlfriend Gloria (the super cute Chiara Caselli).
While the horror won’t leave you sleepless, the kills are well-staged with the practical gore effects we love and giggle at. One standout sequence finds a scared woman desperately trying to find the right key for her complex’s door; she doesn’t know she’s in danger, she is just jumpy from the news of the serial killings. It’s shot from a distance, with the killer’s shoulder covering half the frame as he watches her struggle.
As is common in giallo films, staging trumps logic. The film’s first victim seemingly should’ve escaped safely on a train, but inexplicably the killer has gotten on the train. It’s a stylish way to launch “Sleepless,” though, with cuts to outside shots of the train shooting through pouring rain.
When von Sydow and the main cast come in, it’s like a different movie, but not in a bad way. We slow down and enjoy some evocatively rotting Italian architecture – including the home of the late Dwarf, which rather inexplicably seems to be untouched in 17 years. The clues Moretti and Giacomo pursue seem crafted for a story (Agatha Christie would approve of the nursery rhyme) rather than real-world plausible. But it’s all in good fun as the writers scatter red herrings like a boxer throwing feints before landing a final, yet guessable, shocker.
“Sleepless” is ultimately like a dream that fades away – not a top-shelf Argento entry but an easily enjoyable watch if you are amused by giallo tropes. If the reputation of Argento’s 21st century films sounds like a nightmare, at least it starts off fine with “Sleepless.”