Phantom of Death (1988)

I've spent the last couple of weeks going through my DVD collection of giallo movies, re-watching those I hadn't viewed in a while.  There were some surprises - I could have sworn for instance, that my copies of Argento's Bird With the Crystal Plumage and Cat O'Nine Tails were the English dubbed versions, but both were in the original Italian with sub-titles, the false memory doubtless down to having seen them in English on streaming channels - with some titles turning out to be far better than I recalled.  Chief amongst these being Ruggero Deodato's Phantom of Death (1988).  As a latter day entry in the genre, the film obviously doesn't have the often stylised look of those entries made in their seventies heyday, instead focusing on a more realistic, hard-edged and location-shot look. Plot-wise, it also eschews the twisty plotting of the classic giallos, which constantly challenger audience expectation and continually shifted their perspectives on what they were seeing onscreen.  I common with many later giallos, the plot instead veers toward a slasher-movie structure, focusing on the question of 'who's next' in terms of victims.  The killer's motivations in Phantom of Death are also not derived from some past crime or buried secret, although the killer's past weighs heavily upon their actions.  In the film's most novel aspect, the killings are triggered by a diagnosis of a rare and incurable medical disorder which causes the sufferer to age rapidly, the physical process accompanied by a rapid mental deterioration.  The sufferer in this case being a concert pianist in the prime of his career, played by Michael York.  Angered by the fact that his life and career are to be cut short in this way and with dementia setting in, he goes on a murderous rampage, the while taunting the investigating police detective, played by Donald Pleasance, with a series of phone calls using a disguised voice.

In this latter aspect, the film can be seen as a sort of second cousin to Lucio Fulci's New York Ripper (1982).  The similarity is no coincidence, as the same writers were responsible for both films, but weren't happy with the rewriting and changes made to the script for Fulci's film, so continued to develop their original concept into Phantom of Death.  Although still including a significant number of gory murders, Deodato's film feels far less violent and savage than Fulci's, making its killer into a tragic figure, rather than just another maniac.  Indeed, York actually gives a pretty decent performance as the murderous pianist, his physical deterioration (via some excellent make-up effects) accompanied by his slipping further and further into a dementia that frequently leaves him barely comprehending his own actions and constantly bewildered by the fact that those he has known from childhood no longer recognise him.  A bewilderment that frequently turns to rage, often resulting in more killings.  He is matched by a hugely entertaining performance from Pleasance as his nemesis, characterising the detective as quietly spoken, restrained and intellectual, he too finally erupts into rage as the killer's taunting and threats take their toll.  In one particularly memorable scene, after it becomes clear that the killer is calling from a cafe across the road from the police station, he runs into the street ranting and raging at his unseen foe, (to the bemusement of passers by who clearly didn't know that it was part of a film, presumably assuming that Pleasance was just some crazy Englishman).  

While the film's central conceit of the ageing disease is certainly novel and is used both to define the killer and the investigation into the murders, (Pleasance suspects York from early on, but descriptions of the killer, as an older man and the voice he hears on the phone, don't match the version of the pianist he knows, derailing the investigation into a series of dead ends), it also ensures that York's threat declines as the film goes on.  Inevitably, he starts becoming so decrepit that it is hard for the audience to see him presenting a threat to anyone, let alone the much younger characters he is targeting.  Toward the climax, he has to rely on the fact that, looking like an elderly man, victims won't perceive him as a threat until it is too late.  Ultimately, the ending feels muted and anticlimactic, as he has clearly become too feeble to hurt anyone.  In spite of this, the film overall is very entertaining, with some great Venetian locations and two strong leading performances.  Deodato's direction ensures that the film has a slick look. moving smoothly through its plot at a decent pace, full of interesting shots and compositions.  As a metaphor the way in which society perceives age and frustrations this can engender in the aged, as it becomes increasingly obvious their inner perception of themselves aren't matched by the way others perceive their appearance, the film scores heavily.  The question it ultimately poses is whether it is better to rage against ageing, as York's character does, seeing it as a handicap, a curse, or accept it gracefully, as Pleasance's character does, enjoying the benefits it brings, such as the professional respect of his colleagues.  As I said, Phantom of Death turned out to be far better than I remembered it, both in terms of the production itself, but also the script and performances.  Whilst far from being a giallo in the classic sense, it still has much to merit it and is well worth watching.