Diary entries forWhat Have You Done to Solange?
What Have You Done to Solange?
Broken Mirrors and Broken Minds: A Ranking of Italian Horror (http://boxd.it/HXUa) What Have You Done to Solange? is a stylish and clever giallo, titillating the most in the sublime camera work, and the music of Ennio Morricone. Despite an inconsistent pace and a few other flaws, the feature is nevertheless a tantalizing watch. Cinematography is flagrant and memorable, enlivening the nature in certain shots and so on. The POV of the killer is shown but quite subtly; the tracking shot down the staircase is a totally phenomenal moment in the film. The killer's mystery unravels like a good giallo would, but maybe too ordinary. The film's main lead isn't compelling enough to fully like. At first he appears too arrogant to admire, and then the next more approachable when he digs deeper into the case and acts more appropriately. His involved romance, however, is a soothing departure from terror and a nice effective touch. It's emotional, much like the film's themes of innocence and sexuality. What Have You Done to Solange?’s ending appears just right. Carefully crafted, it's a bittersweet and satisfyingly written finale. It's one of the film’s many magnificent moments, yet it isn't a consistent amount. Nonetheless, it deserves recognition among any living horror fan. For what it is, What Have You Done to Solange? is a pretty damn great experience.
What Have You Done to Solange?
Starting to realize that my favorite genre of film is giallo. Stylized beautifully. Mesmerising and dreamy in every frame. There's a sharp eye in direction and movement, much like a dance, pushing the plot further and the kill count higher. The story dips low in some melodramatic moments, which pans it out better as a novel, but with blood and terror, it's a worthwhile ride.
What Have You Done to Solange?
Joe D’Amato was such a talented cinematographer. I've started to really notice that with Death Smiles on a Murderer and now this. He keeps it dynamic and engaging the whole time, even during the police procedural scenes that tend to be the weakest part of the genre. Fabio Testi's character, our protagonist, is introduced as he's having an affair with one of his students. From the start, we aren't rooting for him, but I think his character is crucial to the story. Not only are the adults/authority figures oblivious to what's going on with these girls, but he is directly involved in their loss of innocence. And also, sure, he is forgiven by his wife, but has he forgiven himself? The brazenness of the giallo genre (and this era of film in general) is something I greatly appreciate, and this one is as unapologetically sleazy as they come. You'll be able to tell if it's for you within the first 10 minutes. This could definitely be the most misogynistic giallo I've seen, and that's saying a lot. However, with its strong plot and high-quality filmmaking, this is a solid entry point if you can handle the heavy content. Morricone's score is just the cherry on top. One of the genre's best offerings, imo.
