Trauma (1993) User Reviews (84)

Not One Of Argento's Masterpieces - But Definitely Not Bad

[Witchfinder-General-666 · 7/10 · 29 February 2008]

Dario Argento's "Trauma" of 1993 is definitely one of this great director's lesser films, but it is nevertheless a more than decent Thriller and better than most 90s Horror films. The 90s were a bad decade for Horror in general, and definitely also the worst decade in Dario Argento's career, with his doubtlessly worst movie "Il Fantasma Dell' Opera" in 1998. "Two Evil Eyes" of 1990 which he made with George A. Romero, was also a good Horror film, but not nearly as great as a film by Romero and Argento could have been. "Trauma" is definitely not comparable to Argento's masterpieces from the 70s and 80s. As far as I am considered, however, Argento is one of the greatest Horror directors of all-time, and films like "Suspiria", "Profondo Rosso" or "Phenomena" range high in my personal all-time favorite list. Even Argento's weaker films are usually above average, and "Trauma" is a more than decent film that easily outshines the majority of 90s Horror efforts.

Director Argento's daughter, then 18-year-old Asia Argento stars as Aura, a teenage Romanian girl who has escaped from a mental hospital where her parents sent her, supposedly to cure her anorexia. What Aura is really fleeing from, however, is a serial killer who only operates when it rains. Journalist David (Christopher Rydell) wants to help the girl...

Generally speaking, "Trauma" has everything decent Horror films need - it is stylishly filmed, atmospheric and very suspenseful from the beginning to the end. What Trauma sadly lacks, are many of the brilliant trademark Argento elements. Most of Argento's masterpieces from the 70s and 80s had brilliant scores by Progressive Rock band Goblin. "Trauma" unfortunately hasn't, which is one of the elements that I missed most. The change of scenery from Europe to the United States doesn't compliment Argento's style of film-making either. Then again, the camera work is, as usual, great, and even though the film is not quite as ultra-violent as some other Argento films, there is quite an amount of stylish, gory bloodshed. The performances are fine too (although not breathtaking), especially young Asia Argento convinces in her first leading role. The supporting cast contains Frederic Forest, Brad Dourif and Piper Laurie.

As mentioned above, "Trauma" is certainly not one of Argento's masterpieces. But even this ingenious filmmaker's lesser films are above average, and "Trauma" is definitely a more than decent 90s Giallo that Horror fans should not miss! Recommended!

Flawed but Underrated Argento Film

[lovecraft231 · 7/10 · 7 May 2008]

A young man (Christopher Rydell) finds an bulimic girl (Asia Argento) who has escaped her parents. When returned to them, a killer with a unique mechanical decapitation device strikes. Soon, the two must find out who the killer is, and what they want.

Released in 1993, "Trauma" has received some flak from Dario Argento fans, who consider it one of his weaker efforts. In a way, I can agree-the movie has several plot holes, the acting is largely hit and miss (Asia is pretty inexperienced here), and it's not as gory and stylish as his other films.

Yet, there's still plenty to recommend in this movie. The movie is Argento's more character and plot oriented films, and it's surprisingly easy to follow. There's also still plenty of Argento's wonderful stylish touches, and while not as gory as his previous movies, there's still some great kills (including a great bit involving an elevator). The score by Pino Donnaggio, while not as good as Argento's past musicians, is still up to task. Finally, the presence of several acting vets (including James Russo, Brad Dourif, Frederic Forrest, and an excellent Piper Laurie) don't hurt at all.

"Trauma" is not Argento's best movie, and certainly pales in comparison to movies like "Deep Red", "Suspiria", and "Inferno." As it stands though, it's an underrated movie, and worth a look, especially if you are an Argento fan.

Underrated, but no masterpiece

[jangu · 7/10 · 25 May 2001]

There are some good stuff here to be sure. Argento-fans tend to rate this way down on the scale and criticize it for being to "americanized". I don't agree. Sure, there is a certain sense of "half-baked Argento" here and there, but I don't find that to be a minus point. If anything, being made in the states, it has more convincing performances and the production values can not be faulted. It's look may seem aneamic if viewed beside "Suspiria" or something more of Argento's more gaudy creations, but I think that this is intentional. Cinematography it absolutely top-notch, conveying a suitably spooky atmosphere to many scenes. The story is fairly straight-forward for an Argento movie, but not standard fare, and if this had been made by a newcomer it would have been hailed as very solid suspenser indeed. The plot twists and turns even if the outcome isn't too much of a surprise. However, one thing really bothers me about "Trauma". The sfx-work by Tom Savini is truly awful. Some scenes, like the one in the elevator-shaft, start creepy enough but are ruined by the effects overall cheesiness (the falling head is only laughable instead of frightening). Shame on you, Savini! Bring on Sergio Stivalletti! Another thing that's not very good is Pino Donaggios score, which he seems to have composed in his sleep. It's not bad, it's just that it seems so routine. Compared to "Deep red" and a few others, this is not Argento at his best. But even Argento at half-speed is better and more interesting than most directors produce within a lifetime.

It's no "Deep Red," but so what? It's still better than most "fans" would have you believe...

[BillyBC · 27 May 2003]

(***1/2 out of *****)

This shot-in-Minnesota Argento mystery-thriller never gets the credit it deserves. So it's not as flashy and deliriously twisted as some of the Italian master's earlier work -- so what. It relies more on creating people you actually care about and, for this reason, I think it's one of his most character-driven films. Argento's real-life daughter (and European sex symbol) Asia Argento plays a young anorexic who witnesses the decapitation murder of her parents by a serial killer known as `The Head Hunter' who only kills when it's raining. With the help of a local TV news writer (Christopher Rydell), who is himself a recovering drug addict, she tries to solve the murders and reveal the killer's identity before he/she kills again. Although it's not quite as lavish as, say, Suspiria or Opera, there are some typically inventive touches that raise this above other early-‘90s slasher movies of its kind (for example, the killer uses a mechanical device with a razor-sharp wire to decapitate victims, and some heads continue to move and even speak for a few seconds after they've been cut off.) A great oddball cast (including eccentric character actor Brad Dourif, Frederic Forrest as the suspicious, unconventional doc, and Piper Laurie as Asia's batty, phony-medium mom) make it even more enjoyable -- but, honestly, this movie has one of the most unusual and seemingly out-of-place opening and closing credits sequences of any movie I've ever seen.

HIGHLIGHT: When the wire on the decapitation device snags on Dourif's necklace, the unruffled killer compensates by dragging him over to an elevator shaft and pushing his head under the descending elevator car.

Unheralded masterpiece

[Libretio · 7/10 · 15 June 2005]

TRAUMA

Aspect ratio: 2.39:1 (Technovision)

Sound format: Dolby Stereo

A TV newsroom artist (Mark Rydell) helps a distraught anorexic (Asia Argento) to investigate the death of Argento's mother (Piper Laurie) at the hands of a monstrous serial killer.

Though often cited as the film which signalled a creative downturn in Dario Argento's career, TRAUMA is actually a much better entry than its reputation suggests. The victim of spotty theatrical distribution and horrendous pan-scanned video versions - which reduce the wide Technovision frame to a mere shadow of its former self - the film is an exercise in giallo excess, culminating in one of the finest Grand Guignol set-pieces of this director's long career. Indeed, far from providing evidence of 'creative decline', TRAUMA is actually a fine addition to Argento's filmography, and is ripe for reappraisal.

Despite its American setting, the film is defiantly European in style and execution, employing ultra-wide scope framing, inventive camera-work (including a bizarre shot from the point-of-view of a butterfly!!), ornate narrative structure and eccentric characterizations. It's no wonder some of the supporting American players seem a little disconcerted by the director's unconventional approach (including Frederic Forrest as a doctor sporting an unexplained neck-brace, and James Russo as a typically hard-boiled cop, always one step behind the film's youthful protagonists)! And the script - co-written by Argento and celebrated fantasy author T.E.D. Klein - adheres faithfully to the giallo template, punctuating its convoluted storyline with several grisly murders (though not *that* grisly, considering the involvement of makeup wiz Tom Savini), and a number of compelling set-pieces: The seance which ends in murder; the mental institution where the killer disposes of an important 'clue'; the room full of billowing drapes (an authentic stroke of genius); and the climactic revelation of the killer's motive, which is so utterly horrific, it almost justifies his/her gruesome rampage. The movie ain't called TRAUMA for nothing!

At least two other versions of the film have surfaced in bootleg video form over the years, both of which plug a number of gaping editorial gaps in the official 'director's cut' (note, for instance, the abrupt introduction of Rydell and Asia at the beginning of the film), which indicates either distributor problems or a rushed post-production schedule. This may explain why Pino Donaggio's half-hearted score sounds like it was written and recorded before completion of principal photography and tailored to match the finished product, rather than the other way around. The cast is a typical Argentonian mixed bag: Asia portrays the same joyless harpy she's played in all her collaborations with Argento to date (including THE STENDHAL SYNDROME and THE PHANTOM OF THE OPERA), leaving Rydell to shoulder most of the film's emotional burden as a young man who learns to accept Asia's flaws whilst simultaneously falling in love with her (few) virtues. Frankly, she doesn't deserve him! Laurie makes much of her limited screen time as Asia's domineering mother, while Brad Dourif (the "Lord of the Rings" trilogy) plays a former doctor whose guilty conscience comes back to haunt him in the worst possible way. Watch out for ex-"Falcon Crest" star Laura Johnson in a brief but creepy performance (her final scene is genuinely chilling) as an ambitious TV news anchorwoman who tries to stake her claim on Rydell in no uncertain terms.

Not Argento's Finest, but Ok

[glenmatisse · 6/10 · 17 October 2020]

An anorexic teenager sees her parents murdered and thinks the killer could be coming after her next, so it's up to a struggling addict to keep her safe.

Dario Argento's flair for over the top gory set pieces isn't as noticeable here and everything feels more calm and by the numbers, but every now and then, there's a shot or sequence that feels like old fashioned Argento and those moments are worth watching it for. It's also interesting to see a film of his that appears to use all live audio from the set and that takes place in America. It's jarring at first, but you get used to it.

Somewhere, deep down, there's probably a great giallo trying to get out

[tomgillespie2002 · 4/10 · 27 September 2016]

Trauma is a particularly significant horror in that it was the first film to be made by Italian genre master Dario Argento on American soil. Following a string of eye-catching, kaleidoscopic gialli and superior supernatural tales, Argento found himself at the door of Hollywood, an industry which, at the time, was struggling to churn out much in terms of originality in the horror/thriller genre. While he had employed English-speaking actors before, such as Jennifer Connelly, David Hemmings and Karl Malden, their roles were often crudely dubbed, and Trauma offered the director a chance to reach a broader audience with his unique - if obviously Hitchcockian - blend of build-up and terror.

Disappointingly, Trauma, if anything, represents the beginning of Argento's drastic career decline. The opening is full of promise, as a familiar black-gloved killer stalks a victim before killing her in a brutal and stylish fashion, here with a device which allows the victim to be garroted with relative ease. Bolstered by a POV style and traditionally great effects work by Tom Savini, it's a scene that could have easily been taken from one of Argento's native works. However, as popular as the giallo craze was, it didn't quite reach the general American audience, and so Trauma gets watered-down and peppered with horror clichés in an attempt to cast a wider audience net. While the tropes are there - an everyman (Christopher Rydell) is forced into sleuthing while dodging the police - it does little but frustrate as you realise that somewhere, deep down, there's probably a great giallo trying to get out.

So while the film has it's odd moment, the result is an incoherent, and somehow quite boring, mess of ideas and clashing styles. Starting promisingly, the story goes on to place anorexia sufferer Aura (Asia Argento, the director's then 17 year-old daughter) in the hands of illustrator David (Rydell) after her parents are murdered by the masked killer, and it is during this period that the film does nothing but lay out a string of red herrings, as well as creepily leering at Argento's youthful beauty. The final third is an exhausting conveyor belt of anti-climaxes, before the ludicrous (and not in an entertaining way) reveal that feels like it was made by a sub-par Tobe Hooper or Wes Craven arrives. While it's nowhere near the level of atrociousness that Argento would vomit out in 2009 with Giallo, Trauma feels like it was made by a once-great visionary who had tiredly given in to the producers' voices in his ear.

Good ideas, but the execution could have been better

[Eumenides_0 · 6/10 · 13 January 2012]

A mentally-disturbed anorectic sixteen-year-old runaway girl, Aura Petrescu, witnesses the brutal murder of her father and her psychic mother. The killer chases after her fearing she may have seen his face. Meanwhile the doctor who took care of her wants to have custody over her and return her to the hospital. One day while trying to commit suicide she's helped by David, an illustrator, who helps her discover the killer while keeping her free from the hospital.

Dario Argento is a filmmaker who refuses to change and that's creatively dangerous. Since his first movie, the magnificent The Bird with the Crystal Plumage, he's been playing variations on the same formula: amateur sleuth tries to solve string of brutal killing after accidentally getting involved in the case. In Trauma the formula is becoming exhausted. A serial killer is on the loose decapitating his victims. A psychic during a séance channels the spirit of one of the victims. Before accusing the killer, however, the psychic is killed. If this sounds familiars to Argento fans it's because it's one of the plot points of Deep Red. There is suspense here but the director is hardly exploring new situations. Even his concern with anorexia is superficial at best. This is Argento resting on his laurels.

Although Trauma lacks the inventive camera work of Deep Red or the lush colour palette of Inferno, it's by no means a bland movie without its sparkles of genius. Some things are in the movie just because, I guess, Argento thought they looked fun, like the shots of lizards. Argento uses animals in almost every movie and he tends to use them excellently, either as important plot points (Opera and Phenomena) or for their savage symbolism. The movie is also riddled with dark humour. One f my favourite scenes is when the killer follows Aura into the hospital and murders a nurse in the presence of a mental patient who watches in terror and then waves the killer goodbye. The gore is restrained, but fans of severed heads will be satisfied with their realism. It's a pity Argento cares more about props than acting or dialogue.

The cast is exceptionally good. It has Piper Laurie, a very threatening Frederic Forrest, and even a brief appearance by Brad Dourif. Argento's daughter, Asia, and Christopher Rydell play the protagonists and give sadly the weakest performances. The problem is that the dialogue just isn't very good or natural. For consummate actors like Laurie and Dourif, who can turn cheese into gold, that's not a problem, but Rydell and Argento fail to rise above their material. I'll give the director credit, however, for playing the relationship between Aura and David very emotionally. Friendship and caring seldom exist in Argento's world, the protagonists being too busy solving crimes for that. Here he actually tries to explore the feelings each one has for the other and that makes Trauma one of his most touching movies.

This was Argento's first production in the United States and it's tempting to lay the blame on those awful producers who just don't understand geniuses. But that's too easy. There's every indication that he had a tight control over the movie and perhaps that was the problem. If there had been a producer reigning in Argento, I doubt so much of the poor characterisation, ridiculous dialogue, not to mention silly ideas like talking severed heads, would have made it to the screen. Hollywood may be soul crushing for artists, but at least the average producer seems to care about things like logic and continuity. Sadly Argento doesn't. Argento's decay was a slow process that started after Deep Red, his last great movie in my opinion, the one where he synthesised his dream-like vision of the world with inventive cinematography, a vivid colour scheme and a cerebral mystery. Since then he's had many ups and downs. Trauma belongs at the bottom of his filmography and I recommend it only for Argento enthusiasts.

It's Raining Again

[Rindiana · 2/10 · 3 April 2010]

Dario Argento scraping bottom.

As the director's stylistic flourishes seem to be muted by the American setting - although there are some small moments here and there that work -, you're left with one of those silly giallo plots full of cheap and exploitative psychology, random narration, amateurish performances - the only decent acting's done by Brad Dourif - and no logic at all.

There's a certain fascination to be gained watching rubbish like this. At least, it's Argento rubbish! There is a hypnotic quality to all his movies... even to the most atrocious ones such as this.

2 out of 10 talking heads

Doesn't always "feels" like an Argento film, but it's certainly not bad!

[Coventry · 6/10 · 12 September 2004]

Italian's top-class horror director Dario Argento obviously impressed some people with his previous films ('Opera' in particular) as he was offered the opportunity to film a fully American backed production. Trauma is a gruesome and sadistic thriller from the giallo-master, completely set in Minnesota and depending on a respectable US cast. There's a serial decapitator at large and the young, anorexic Aura (director's daughter Asia Argento) seemly is his/her main-target. The good-hearted journalist David (Christopher Rydell) takes the girl under his wings after the killer got both of her parents and, as their relationship becomes more intimate, the routine of sadistic killings slowly emerges. A bone-chilling mystery from the past slowly unravels and it involves multiple (ex-)doctors from a psychiatric clinic.

The plots in gialli rarely are credible so you can count on the fact that this 'Trauma' contains several far-fetched nonsense aspects as well. Especially the U-turn twist near the end is pretty hard to digest. My advise: don't pay too much attention to this and drown in Argento's brilliant as always camera movements and the stunning portrayal of the violence. Trauma may not be as bloody as 'Tenebrae' or the more recent 'Sleepless' but some of the butchering done here still is perfectly nauseating. What else do you expect with a killer whose modus operandi includes beheading people? Unfortunately, Argento still lacks the skills to direct his actors. You can't even blame the dubbing this time, but the performances are far below average. Asia Argento is forgiven, since it was her first leading role. But I expected a little better from routine B-stars like Frederic Forrest, Piper Laurie and James Russo. Brad Dourif is a joy to observe, but his appearance is far too brief to save the dull acting. To me, Trauma turned out to be a pleasant Sunday afternoon time-waster. Not nearly Argento's most memorable film (he hasn't made any memorable film in the 90's) but maybe the ideal film for inexperienced horror fans to get into contact with Argento's work. All the trademarks that made him legendary in the field are present, but none of them is properly elaborated like it should be.

The best thing about this trash was Piper Laurie's performance.

[Aussie Stud · 1/10 · 18 December 2001]

In Dario Argento's "TRAUMA", Piper Laurie's performance as a highly eccentric medium is about the only thing that stands out in this tired 'slasher' flick.

Dario Argento has proven with "TRAUMA" that he is entering his 'twilight' years as a Director with this flimsy vehicle that couldn't move any faster even if a fire was lit under it. It is perhaps his first foray into the Americanized 'slasher' genre as we know it, which is okay, but apparently someone forgot to tell him that the year was 1993 and that tactics used for slasher films that heavily populated the 80's was not cool anymore.

The second mistake Dario Argento is guilty of is casting his daughter, Asia Argento as the main lead in "TRAUMA". Not only is she highly incapable as an 'actress', but she takes away all credibility contained within the 'story-line' every time she appears on-screen. A good example would be the scene where she intends on committing suicide by jumping off a bridge and is 'coaxed' back over the railing by a young man named David (portrayed here by Christopher Rydell). She injects no authenticity or plausible acting in this scene alone that it is rather excruciating trying to make sense of her abilities as an actress.

The film's premise is typical of a Dario Argento thriller. We have a serial killer on the loose who makes a nuisance out of him/herself by cutting off the heads of his/her victims. The first victim is an African-American chiropractor (again, here we have a prime example of cliches contained in 80's slasher films - the first victim happens to be of African-American descent) who is murdered in her office by a black ski-mask clad psychopath. Asia Argento is a runaway teen who is returned to her parents (portrayed here by Piper Laurie and Dominique Serrand) by some sort of truant officer. Her parents are practicing mediums who make a business out of 'speaking to the beyond'. Actually, it appears in this movie that Piper Laurie handles the 'speaking to the beyond' part while her husband tends to the books. Upon the return to her parents, a seance is conducted that very night which results in the brutal murders of both her parents during a violent thunderstorm. Asia chases her parents outside in the rain, only to find their decapitated bodies lying on the grass.

Who is the killer? Unlike Dario's earlier films such as "PROFONDO ROSSO" and "TENEBRE" where the killer is revealed at the end and his/her motives satisfy the viewer once you look back at all the pieces that finally fit the complex puzzle, the motive for all the murders in this movie is highly preposterous and quite ridiculous.

All of Dario's trademarks from his earlier films are nowhere to be found in "TRAUMA". There really aren't any scenes displaying exceptional camera-work and there is not enough suspense built into the plot as it drags along quite slowly. Piper Laurie is outstanding as she gives a performance reminiscent to that of her turn as Mrs White in "CARRIE". Other than the scene where a tree branch brushes against a window during a storm, there really are no other thrills contained in this yawn-fest to keep you interested.

"TRAUMA" is a very sorry and boring experience that comes as a huge disappointment given that Dario Argento directed this garbage. Asia Argento being cast as the lead role wasn't much help either.

I say, avoid this one folks.

My Grade: F

Underrated Argento chiller!

[Nightman85 · 9/10 · 27 October 2006]

Italian horror master Dario Argento's only venture into American film-making was this tight, unique thriller.

Young man tries to help a troubled anorexic girl catch the 'head-hunter' killer that murdered her parents.

Trauma is a film that has been given the shaft by many critics, including some of Argento's own fans. Trauma is a step outside of Argento's typical colorful style as it goes for a more subtle look. Still Argento does flair with some creativeness in this film. The camera work and atmosphere are splendid, helping to make the mysterious story all the more intriguing. Pino Donaggio also lends some good music to the film as well. The theme song 'Ruby Rain' sang by Laura Evans is a nicely haunting little piece by itself. Also different from the other works of Argento, this film is rather light on gore, but still manages to have some shocking murder sequences thanks to some wild set-ups.

The cast is quite good. Chris Rydell shines as our likable young hero. Asia Argento, Dario's daughter, does a decent role as the young victim wrapped up in the mystery. Veteran actress Piper Laurie is great as always as Asia's psychic mother. The supporting cast hold their own too.

Despite its differences from Argento's earlier classics, Trauma is a fine piece of film-making itself. It's a must-see for Argento fans and just right for those seeking an off-beat thriller!

*** 1/2 out of ****

considering Argento's recent output, this isn't bad...

[Jonny_Numb · 6/10 · 13 December 2005]

Dario Argento makes a clunky transition to film-making in the United States with "Trauma," but still succeeds in creating an atmosphere of suspense and menace. The cast, while well-chosen, is prone to overacting (with Piper Laurie and Frederic Forrest being the key offenders), and the plot revolves heavily around coincidence. Despite this, Argento's skillful POV shots (the hospital sequence is especially impressive) imbue the film with an efficient mood of dread, and the story, once fully revealed, makes a bit more sense than the director's earlier, more artistic efforts. Tom Savini's makeup effects are well-done, but underutilized (even in the uncut version).

A traumatic experience, for all the wrong reasons.

[BA_Harrison · 4/10 · 14 April 2008]

Trauma, Dario Argento's first US production, is often cited as one of the director's weakest movies. This may be, in some part, due to the fact that he 'held back' slightly, for fear that his new American audience might not fully appreciate his more outrageous directorial touches. It may also be because Argento unwisely allowed nepotism get the better of him and unwisely cast his inexperienced daughter Asia in the lead role.

Whatever the reason, Trauma is certainly a far cry from the director's classics such as Deep Red or Tenebre, lacking the excellent camera-work (to me, the butterfly-cam felt like he was trying a tad TOO hard), precise editing, stunning soundtrack, and stylish death sequences of these earlier works.

The one factor that Argento does retain from his Italian films is a ludicrous plot; unfortunately, without the other outlandish elements to distract the viewer's attention from the dumb story, the film flounders in its own idiocy.

In Trauma, Christopher Rydell plays David Parsons, a young man who becomes involved in a deadly mystery after preventing Aura (Asia Argento), an anorexic girl who witnessed the murder of her parents (by a maniac with a hand-held decapitation machine), from committing suicide.

Dario Argento, who is often referred to as the 'Italian Hitchcock', has fun referencing both Rear Window (by having a young lad spy on the killer from his bedroom window) and also Psycho (with a shower scene that mimics certain shots from the 1960 horror classic), but on this occasion, however, the director is definitely not worthy of the comparison: he delivers a lacklustre and infuriatingly silly effort that took me three viewings to get through.

The pacing of the film is dreadful (for example, David's descent into drug addiction towards the end of the film happens in the blink of an eye), the acting is awful (Piper Laurie overacts; Asia Argento doesn't act) and even the gore FX by the usually reliable Tom Savini do not impress.

Moreover, the film is not in the least bit scary, and often elicits laughs rather than screams: in a couple of the film's daftest moment, the just-severed head of a murder victim manages to utter a few words to the hero, and, after a decapitation by an elevator, another head is seen screaming as it falls down the shaft!!

Perhaps the most disturbing moment of the whole film, in my mind, was the brief topless shot of buxom Asia: maybe it's just me with my uptight British sensibilities, but filming your own daughter with her norks out just doesn't seem right!

A surprisingly great horror-suspense film...

[dr.gonzo-4 · 29 October 1999]

When I picked up TRAUMA at the vid-store, I wasn't really expecting much from it. I'm not a big Argento fan, but I do enjoy Italian horror/cult films. I have to say, I was totally impressed by it! It was a surprisingly great horror-suspense film with great camera work & gore as well. A lot of familiar faces in this film including James Russo, Cristopher Rydell, and Piper Laurie who you might remember from THE FACULTY. Also the lovely Asia Argento who commands the movie like she did in Michele Soavi's THE CHURCH.

Before URBAN LEGEND, I KNOW WHAT YOU DID LAST SUMMER 16, & SCREAM 3000 there was Dario Argento's TRAUMA. And if you enjoyed any of those similar movies you should love this one as well. Except this one is ten times more scarier and realistic with tons of unexpected plot twists that would put all those movies to shame. Its just too bad Argento doesn't make any more horror movies 'round these parts.

Not one of Argento's best

[acidburn-10 · 6/10 · 2 April 2009]

"Trauma" is definitely not the best film he's ever done, and by no far the worst either, but it's just not up there with (Deep Red, Suspiria, Tenebre and A Bird With A Crystal Plummage).

The set up is good and the acting is top-notch especially Asia Argento, she's a talented actress. The movie starts off good and the storyline is interesting and has a good twist at the end, it's just the middle I found a bit muddling. TRAUMA is occasionally a pleasingly twisted film, but whilst watching it I couldn't shake the feeling that it could have been all the more gloriously twisted if it were not for one thing- that it was trying to please its (perceived) American audience. As I've said (several times!) there is no way you can disguise Argento's intrinsic strangeness, but here it seems, well, kind of muted. Explaining why it fails somewhat, the film (and hence Argento) seems uncomfortable in its setting; especially in its attempts to transport some of giallo elements to a foreign setting.

All in all "Trauma" isn't a bad film, just mediore at times.

Apart from some major flaws, still worth while.

[johannes2000-1 · 7/10 · 1 June 2021]

Although I'm a big horror fan, I have never felt any affinity to the giallo genre. But it can't hurt to step out of your comfort-zone now and then, so when I stumbled over this movie in a garage sale I gave it a try. Meanwhile I realize that "Trauma" is not considered as one of Argento's best, so I have to take that into account.

The story may be a bit over-wrought, and the pace (the movie dates from 1993!) relatively slow, but I was pleasantly surprised by the sinister, brooding atmosphere, enhanced by a remarkable and very effective photography. The gore was reasonably done (the decapitation-device was a real find!), but at other times the tumblings of the severed heads (some even talking!) caused mainly chuckles. Some of the scenes were definitely too much (like the final show-down in the cellar-dungeon), but others were really thrilling (the seance!) or even extremely subtle in a nerve-racking way, like the scenes with the little spectacled boy entering the house of the killer, reminding me a bit of De Palma.

Asia Argento was beautiful, but had a rather annoying part, acting either cross or terrified (mostly both). Christopher Rydell was a surprise to me, very attractive and acting easy and natural, a pity that his filmography since Trauma was only modest and seems to have ended around 2010. I don't know how Piper Laurie came involved in this project, they gave her an impressive, almost gothic appearance, but her acting was way over the top.

All in all, some mixed feelings but nonetheless surely worth while to have seen.

Weak Argento

[jameselliot-1 · 3/10 · 1 May 2011]

I'll invest my time in any Argento, even the gawd-awful Giallo. In the case of Trauma, this is a movie that I avoided watching since it was released and had no interest in. I recently saved an airing on Flix that turned out to be a very nice widescreen print, a big help to inducing me to watch it. Because of personal time constraints, I only watched 15 or 20 minutes at a clip. I mention all this because I'm the first to watch any Dario film straight through. As with most of his films, reality and logic have no real place in his fantasy construct. Trauma is a ridiculous film that makes no sense whatsoever with more holes than a spaghetti strainer. The good points: An atmospheric seance. An unusual decapitation machine that's not well shot during the kill scenes. An atmospheric lake scene and a few other interesting moments. The bad: Bad acting. After the use of leading men like Franciscus, Musante, Hemming and Franciosa in previous classics, Chris Rydell tries but doesn't succeed. He's like a neurotic Judge Reinhold. The cop is REALLY bad. Asia is an acquired taste I don't have although I can appreciate Poppa wanting to give his kid a paycheck. The only redemption in the acting comes from Laurie, Dourif and Forrest. Scenes with the kid are horrendous including what he manages to do at the end. Laura Johnson is completely wasted. The unintentional laughs come from the drugstore scene (hilarious), Rydell's chasing the lesbians, how Rydell finds the killer's house and Rydell accosting Dourif.

"Their not easy to cure, that's why a lot of them end up dead." Not Argento's best.. but not his worst either.

[poolandrews · 7/10 · 16 December 2005]

Trauma starts on a dark rainy night outside a chiropodist's somewhere in Minnesota, inside Dr. Georgia Jackson (Isabell O'Connor as Isabell Monk) is preparing for a new patient. The patient arrives & subsequently decapitates Jackson with an electric wire noose... As he drives along graphic artist David Parsons (Christopher Rydell) spots a young anorexic woman named Aura Petrescu (Asia Argento) about to commit suicide by jumping off a bridge, he persuades her not to & takes her for some lunch where she steals his wallet & tries to leg it at the first opportunity but is caught by some city youth officers outside & is taken back to her parents. Once back home Aura is locked in her room while her Mother Adriana (Piper Laurie) & Father Stefan (Dominique Serrand) prepare for a séance, Adriana is a bit of a medium & during the séance is supposedly contacted by the spirit of Dr. Jackson who is about to reveal the name of the killer when a window breaks & the lights go out. Adriana & Stefan run outside into the rain & Aura follows them but she quickly discovers their decapitated bodies, with nowhere to go she contacts David for help who offers her a place to stay. Both David & Aura decide to investigate the killings themselves as headless bodies continue to pop up all over the place...

This Italian American co-production was written, produced & directed by Dario Argento who is well known for this type of film, Trauma certainly isn't his best but at the same time it's far from his worst. The script by T.E.D. Klein & Argento is a decent murder mystery as long as you don't think about it too hard. For instance, & this part of my comment is going to contain HUGE SPOILERS, if the killer faked their own death by setting the scene & using someone else's headless body why didn't the police realise the body didn't belong to the supposed victim? Since there was no head wouldn't they have at least checked the corpse's fingerprints? DNA? Scars or birthmarks? I mean wouldn't they have checked that the body belonged to whom it was supposed too or are they that lazy? Maybe they don't have too, maybe they can take the word of a hysterical teenage girl both of whose parents have just been brutally murdered. Also, when Argento throws in a red herring towards the end & implicates Dr. Judd (Frederic Forrest) & the police discover the severed heads from, & I quote, 'all 7 victims' where did the decapitated head of the killer come from who faked their own death & was at that point still classified as a victim? Also, why did David suddenly become a drug addict? Anyway Argento & his films aren't really known for their narrative cohesion & logic are they? Trauma is a bit on the longish side & doesn't contain a huge body count but the story is fairly engaging & I'm sure most people would stick it out to discover the killer's identity & motives. One more thing, I hated the talking decapitated heads & I'm pretty sure that decapitated heads can't speak.

Director Argento is widely known amongst horror fans for his style & visually stunning films like Deep Red (1975), Suspiria (1977), Inferno (1980), Tenebre (1982) & Opera (1987). Unfortunately much of his trademark style & splendour is sadly missing here which could probably be put down to the fact that Trauma was his first American production & therefore had to make a commercial film. Still, there are a few nice sequences here like the opening murder set against classical music or a murder shown as shadows on marble. Even worse the gore seems very toned down & almost non existent which is an absolute waste of special effects make-up man Tom Savini, there are a few decapitated heads & a few brief gory shots of wire digging into a cutting throats & nothing else.

With a supposed budget of about $7,000,000 Argento had a decent amount of money to play with so it comes as even more of a surprise that as a whole Trauma is quite a flat & lifeless film with subdued colours, reduced gore & special effects & rather static cinematography compared with what he usually serves up. The acting wasn't anything special & for some reason Argento makes his real life daughter Asia go topless...

Trauma is a decent murder mystery as long as you just go with it & not pick to many holes in it & ignore the talking decapitated heads. I think it's definitely worth a watch especially if you like Argento or horror films in general.

Muddled

[Leofwine_draca · 5/10 · 15 November 2020]

TRAUMA is a middling and muddled effort from cult director Dario Argento, one of his more disappointing efforts that I've seen. There are flashes of the director's classic style and some nice flourishes that remind you of the greatness of the likes of DEEP RED et al, but for the most part this is strained and surprisingly cheesy. Perhaps it's a fish-out-of-water scenario, as this is Argento working in America and not really selling it to the viewer. Asia Argento, as the nominal female lead, seems to be subdued and struggling too, and only old pros like Frederic Forrest, Piper Laurie and Brad Dourif really seem to be making the effort. The film has lots of violence and bloodshed, as you'd expect, but also some very silly moments and FX shots that don't feel at home with the rest of the plot. A mixed bag, at best.

Uneven atmosphere

[nick121235 · 6/10 · 24 April 2019]

I had to watch this film 5 times to understand what happened. I've had a very difficult relationship with Trauma that I didn't have with Argento's films on either side. I loved The Stendhal Syndrome and found Opera to be a masterpiece. It was only on this viewing that I understood the reasoning behind the reveal- not that it's particularly coherent but at least I get it. The section with the lesbian couple feels very Lynchian but then moments of phony gore and cheesiness bring you back to the reality of the film. And that's one of the huge problems with this film- the tone. It moves back and forth between highs and lows too quickly. Scenes with beautiful, flowing camera work and a real sense of tension are cut in half by extremely awkward special effects. The script is meandering and the pacing is weird. The worst problem is that there's no cohesive atmosphere- and for an impressionistic film like this that's a huge downfall. Argento did better in the modern thriller genre with 2009's Giallo- not that it was a particularly good film, but it knew what it wanted to be and embraced it wholeheartedly. Sleepless and The Stendhal Syndrome both hit what they were shooting for in being "modern gialli". Trauma tries to be both at once which makes the film a very rocky ride. I've tried to love this film but I just can't. I can however sit down and enjoy the cinematography and few moments of brilliance. If you're an Argento die-hard I expect you might be able to do the same.

Disappointed 4/10

[vmy2009-962-184102 · 4/10 · 31 December 2018]

I'm big fan of Dario Argento movies and was hoping something great entertainment and music in this film but I was very disappointed with the story, suspense, music, atmosphere & killings which I have always found on the top in other films given by Dario Argento. It was very boring slow in pace and can't recommend. 4/10

Giallo American style

[ODDBear · 8/10 · 2 July 2005]

Dario Argento's Trauma is his only American film in full length.

The film is filled with elements from his previous Italian produced films. The Hitchcockian element from Argento's Animal trilogy is present here (the Hitchcock element even furthered by Pino Donaggio's music score, a frequent Brian De Palma collabarator), as is the Freudian undertone of repressed guilt and past sins from Deep Red and Tenebrae. This is Argento basically delivering his usual giallo in a more American style. And he's hugely successful at it, too.

Trauma has a lot of great set pieces, some great scenes of extreme violence and gore to spare,a cleverly plotted and written story, decent performances from Rydell and Asia and genuine old fashioned suspense. And a devilishly clever ending. Trauma has it all in abundance.

It goes a bit over the top concerning those severed heads and some make-up effects could have been better, I thought. But these are minor quibbles in an otherwise excellent suspense yarn from a master director. Trauma may well be his most underrated film.

I have to say, also, that I find it immensely enjoyable that Argento used live sound here instead of his usual dubbing.

Americanized Argento.

[Erick Z · 7/10 · 10 April 1999]

An interesting film with many of the traditional Argento themes, killing methods, gore and suspense. The one thing this film was lacking in, surprisingly, was style. I'm not saying there wasn't any style, it just seems he toned it down for the American production. It lacks the angles, colors, bizarre situations, and excessive gore of his earlier works. If you are a Dario fan, this is definitely worth watching but if you are not, it may be difficult for you to catch all the director's nuances and interesting touches that make this film enjoyable and sets it apart from the average slasher film. Overall, it is an average Argento film.

Maybe the worst Argento film if not surely one of the very bad ones...

[halfbear82 · 1/10 · 28 August 2018]

The montage is awful, acting is mediocre at best, even Durif's scene is ridiculous and he seems legit drunk ( i would be drunk too to play in this movie ). Music is mediocre, the scenario is stupid and maybe the best think in there is the barely legal boobies of Asia. It seems that master Argento was taking too much pills for his blood sugar... Don't even try to watch it, stick to the good ones , Profondo Rosso-Suspiria-Opera-Tenebre-Phenomena