Recently, fans seem to be a mixed bag on Argento’s inclination towards warmer characters and colder, although still beautiful, photography. Sleepless and The Card Player were both magnificent and brazen departures for the director, and the outcome was astonishing. In 2006, Argento kept to this new pattern with his entry into the Masters of Horror series titled Pelts. As with his latest films, it was a stunning experience.

Jake Feldman (Meatloaf Aday) is a down-on-his-luck furrier desperately trying to woo ex-model/current stripper Shana (an impressive and gorgeous Ellen Ewusie). This woman proves not to be such an easy catch, but does drop the hint that if a man can scratch her back, she’ll gladly scratch his. Enter Jeb (John Saxon), a callous hunter who has been trapping raccoons on someone else’s land. One night he, along with his white-trash son, Larry (Michael Suchanek), head out to the property and catch some of the most beautiful fur imaginable. In fact, even after the animals are killed and skinned, their fleece appears to breathe. Unfortunately, trying to steal such beauty comes with a price – everyone who touches the pelts becomes overtaken to violence, self mutilation and suicide. When Jake finds the skins, he figures he now has a bargaining chip for Shana and a chance at the big time, but if you’re uncomfortable in the skin you’re in…

Pelts is based an F. Paul Wilson short story and is full of mystery, wonder and ambiguity. Argento’s direction reminded me a bit of what David Lynch would have done had he been given this script. Argento captures a Twin Peaks: Fire Walk with Me-type atmosphere as he pays loving attention to the darker side of small town life in the Saxon segments as well as lacing this tale of a dark wasteland with humor and shock. Pelts doesn’t offer much in the way of Argento’s signature work (except for an absolutely gorgeous score by ex-Goblin member Claudio Simonetti) - this is one seedy movie full of stark imagery, much like what he did in The Card Player. It’s a look that suits Argento’s maturing aesthetics well. Yet, there is a fairytale ambiance lying just beneath the grime, and the raccoons and their apparent revenge is handled with such pitch-black absurdity, it reminded me of some of the best (and most nightmarish) fables I read growing up. The photography is breathtaking, but aside from Shana, there is nothing beautiful to take your eyes away from the violence. And there is lots and lots of blood. The various death scenes are grubby and stomach churning, forcing me to wince or even look away during a few of the more unpleasant moments. 

Those who have not enjoyed the master’s most recent projects will probably fail to feel any differently with Pelts, but the rest of us will find it adds yet another amazing and dark chapter in Argento’s newest and boldest work.