PELTS

Never less than original in his fetishistic displays of hyper violence, surreal imagery, and a stylistic approach that alternates between the baroque/gothic and technologically sparse, director Dario Argento is one of the few 'masters' of horror worthy of the term. Delivering in his graphically violent, beautifully photographed nightmares cinematic worlds that mirror both the external and internal dimensions of terror and desire, Argento attacks not only the flesh but, in addition, probes deep into the mind, heart, and soul of our culture. His best work challenges the stability and nature of our perceptions -- the method/tool by which we define the world and our own tenuous place within it. From the fiery hysteria of the narrative inherent in Bird With the Crystal Plumage, his first Giallo, to the surrealistic dream-like imagery of Suspiria, Argento weaves in his tangled cinematic tapestries nothing less than modern myths. These powerful works operate on both a literal and sub-textual level, working on the subconscious much like the forgotten incidents that his characters must recall during moments of crises to save their lives (and sanity). While this director is often accused of being all show and no substance, even a cursory look at his body of work reveals a philosophically united artistry, wherein stories of psychosexual conflict and encounters with the unknown are expressed/reinforced by image and theme. The excesses of bloodstained imagery is mirrored by thoughtful emotional struggle in Pelts, Argento's contribution to the second series of Masters of Horror.

Both a sound example of horrific storytelling and a fable-like warning against commercialistic greed, Pelts was adapted from a story by bestseller F. Paul Wilson (The Keep), whose mixture of righteous indignation and balls-out terror is retained in the script. A knock against the fur industry and our personal desires, this simplistically structured yet thematically mature story depends on the strength of its immediate visceral effect. The story proper revolves around immediately dislikeable Jake (Meatloaf), a clothing maker who works with fur in Seattle. Wishing to climb the stairs to wealth and success, he also lusts over a local stripper (who we're shown in loving detail, along with sex scenes that tight-walk the line of softcore). Hoping to get both the respect and the girl, he resorts to black magic to snag some special raccoon skins. Problem is, the little buggers, off the animals backs and onto humans, turns whoever wears them into raging maniacs with a penchant for self mutilation. This develops into a fairly awe-inspiring nightmare of pain, retribution, and kinky sexuality.

A ballet of death and desire that takes an unflinching look at our society of greed and waste, Argento achieves in Pelts an emotionally scathing yet visually beautiful nightmare masterwork of subversive poetry. The film titillates with sensationalism as it terrifies (and shames) us with its moralistic condemnation of our reigning materialistic culture -- and both the physical and emotional price we pay for it. Emotional vampirism and physical decadence are the heart of the story, and Argento's attention to characterization anchors the more exotic and fantastical elements of the screenplay. A painful, believable sense of naturalism accompanies the surrealism. A sordid grain of reality brings the horror home to us, attacking us intimately. The surface plot and thematic context, charged with believability and unsettling atmospheric luster, leaves an imprint on anyone with a conscience. Confidently directed, lit with bold, striking colors that emphasize the internal conflict and evolving harshness of character's internal geographies of lust and hate, Pelts is most notable for the power of its images, including several 'wet' set-pieces that will satiate the jaded appetites of even the most devoted gore-hound while the dramatic value and meaningful satire will prove equally commendable for thinkers. Loaded with visceral violence and limb-wacking, this "best-of' compilation of the director's favorite set-pieces is accompanied - and made stronger - by an accompanying sense of enchantment. Awe shares the stage with terror, making for one of the series most outlandish and emotionally painful chapters.

Visually Pelts is just as good as you would expect, given the star treatment from the Bay. Featured in a 1.77:1 widescreen print, enhanced for 16x9 televisions, the visual elements are crisp and clear, with solid colors, hues, and convincing skin tones. Important for a director of Argento's approach, the visually stunning palate of colors are lent just the right mix of solidity and dream-like sustenance. Audio is presented in Dolby Digital 5.1 and Surround 5.2. While each track is serviceable and clean, the later appeared to offer the best distribution of sounds.

Extras for Pelts are solid and thoughtful. The first thing one notices is a lack of the copious supplemental material that graced each of the first season discs. While this is disappointing at first glance, the result are better, more engaging, more specific features. Weighing in with quality over quantity, the extras this time or out are more through, with less of the padding that reduced the effectiveness of some of the other discs. Cutting meat from bone, the audio commentary with writer Matt Venne, is informal, engaging, and filled with trivia regarding the storytelling process, not only the film at hand. His approach is rather refreshing in a genre that often idealizes the FX man and director and forgets the writer (without whom you would have nothing!). "All Sown Up: The Making of Pelts" is just as substantial and definitely worth your time. Featuring Meatloaf, Argento, and other cast and crew members, the intimate approach gives one the feeling of having conspired with the filmmakers on a personal level. For effects fans, "All Sewn Up: Mastering the Effects Sequence" is a rich, detailed examination of how the FX creators overcame practical dilemmas for some of the meatier, more visually demanding scenes. Less impressive is a storyboard gallery, a Still gallery, the standard Argento Bio, and a screenplay accessible through DVD-ROM. Several Argento and upcoming AB trailers round out this more economical, concise packaging of a terror masterwork.

Review by William P. Simmons