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Did the film’s unconventional structure & psychic visions conceit make you care about the answers to its central mystery more than you typically would with other giallo films?

Britnee: I haven’t seen many psychic movies, and I’m not even sure that there are many out there, but of those I’ve have watched (mainly The Gift), there’s usually a buttload of psychic visions from beginning to end.

Otherwise, like Boomer says, the score is not nearly as conspicuous as the aggressively proggy sounds we’re used to hearing in our giallo fare, especially in Argento’s work.

Instead, there’s a softness to The Psychic‘s music that often allows it to fade into the background until the central motif, the titular seven notes, presents itself again.

Speaking of giallo as a genre, it’s something we usually discuss in terms of stylized horror filmmaking, despite it earning its name from pulpy mystery novels.

More often than not, the extreme violence & flashy style-over-substance filmmaking craft of giallo pictures outshine any narrative concerns with their central murder mysteries.

This softness reminds me of the swanky opening credits sequence for the last giallo picture we covered as a Movie of the Month selection, Mario Bava’s Blood & Black Lace.

This isn’t necessarily because they sound at all similar, but because they’re more tonally at odds with a traditional horror aesthetic than, say, Goblin’s infamous (an oddly spoiler-filled) score for Suspiria.

Britnee, did you also appreciate that the psychedelic flashes of imagery slowed down after Virginia’s initial visions or would you rather that the whole movie had stuck to that exciting style-over-substance energy?

I didn’t find that to be the case with The Psychic.

Instead of flooding the screen with constant murders & psychedelic montages, The Psychic spills all of its (red acrylic) blood & incomprehensible imagery upfront in the form of Virginia’s visions.

Brandon, one of my favorite things about The Psychic it is its score.

Unlike the heavily synthesized scores of Argento’s work or the tense scores of other giallo films, this film features a simple seven note leit motif (the titular seven notes in black, or, as in my preferred translation, seven notes in the dark) that is not only haunting, but integral to the narrative as well. Do you think that the film would work as well if the score was not so innately tied to the plot?

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