IMDb > Two Evil Eyes (1990)
Due occhi diabolici
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Two Evil Eyes (1990) More at IMDbPro »Due occhi diabolici (original title)

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Two Evil Eyes -- George A. Romero and Dario Argento each try their hand at a tale by Edgar Allan Poe in this feature comprising two hour-long segments.

Overview

User Rating:
6.1/10   3,881 votes »
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Down 19% in popularity this week. See why on IMDbPro.
Writers:
Edgar Allan Poe (stories)
Dario Argento (segment)
(more)
Contact:
View company contact information for Two Evil Eyes on IMDbPro.
Release Date:
25 October 1991 (USA) See more »
Genre:
Tagline:
When I Wake You...You'll Be Dead.
Plot:
Two horror tales based on short stories by Edgar Allan Poe directed by two famous horror directors, George A. Romero and Dario Argento. Full summary » | Full synopsis »
Plot Keywords:
Awards:
2 nominations See more »
User Reviews:
delivers, up to a point, for both sets of fans; it's Poe with a chaser of slightly modern twists See more (46 total) »

Cast

  (in credits order) (verified as complete)

Adrienne Barbeau ... Jessica Valdemar (segment "The Facts in the Case of Mr. Valdemar")

Ramy Zada ... Dr. Robert Hoffman (segment "The Facts in the Case of Mr. Valdemar")
Bingo O'Malley ... Ernest Valdemar (segment "The Facts in the Case of Mr. Valdemar")
Jeff Howell ... Policeman (segment "The Facts in the Case of Mr. Valdemar")

E.G. Marshall ... Steven Pike (segment "The Facts in the Case of Mr. Valdemar")

Harvey Keitel ... Roderick Usher (segment "The Black Cat")
Madeleine Potter ... Annabel (segment "The Black Cat")

John Amos ... Det. Legrand (segment "The Black Cat")

Sally Kirkland ... Eleonora ("The Black Cat")

Kim Hunter ... Mrs. Pym (segment "The Black Cat")

Holter Graham ... Christian (segment "The Black Cat") (as Holter Ford Graham)

Martin Balsam ... Mr. Pym (segment "The Black Cat")
Chuck Aber ... Mr. Pratt (segment "The Facts in the Case of Mr. Valdemar")

Jonathan Adams ... Hammer (segment "The Facts in the Case of Mr. Valdemar")

Tom Atkins ... Det. Grogan (segment "The Facts in the Case of Mr. Valdemar")
Mitchell Baseman ... Boy at Zoo (segment "The Facts in the Case of Mr. Valdemar")

Julie Benz ... Betty (segment "The Black Cat")
Barbara Bryne ... Martha (segment "The Black Cat")
Mario Caputo
Lanene Charters ... Bonnie (segment "The Black Cat")
Bill Dalzell ... Detective (as Bill Dalzell III)
Anthony Dileo Jr. ... Taxi Driver (segment "The Facts in the Case of Mr. Valdemar")
Christine Forrest ... Nurse (segment "The Facts in the Case of Mr. Valdemar") (as Cristine Forrest)
J.R. Hall ... 2nd Policeman (segment "The Black Cat")
Scott House ... 3rd Policeman (segment "The Black Cat")

James MacDonald ... Luke (segment "The Black Cat") (as James G. MacDonald)
Charles McPherson
Larry John Meyers ... Old Man (segment "The Facts in the Case of Mr. Valdemar")

Jeff Monahan
Fred Moore
Christina Romero ... Mother at Zoo (segment "The Facts in the Case of Mr. Valdemar")

Peggy McIntaggart ... Young Policewoman (segment "The Black Cat") (as Peggy Sanders)
Ben Tatar
Lou Valenzi ... Editor (segment "The Black Cat")
Jeffrey Wild ... Delivery Man (segment "The Black Cat")
Ted Worsley ... Desk Editor (segment "The Black Cat")
rest of cast listed alphabetically:

Jonathan Sachar ... Officer Brian (segment "The Black Cat") (uncredited)

Tom Savini ... The Monomaniac (segment "The Black Cat") (uncredited)

Directed by
Dario Argento (segment "The Black Cat")
George A. Romero (segment "The Facts in the Case of Mr. Valdemar") (as George Romero)
 
Writing credits
(in alphabetical order)
Dario Argento  segment "Black Cat, The"
Franco Ferrini  segment "Black Cat, The"
Peter Koper  uncredited
Edgar Allan Poe  stories
George A. Romero  segment "The Facts in the Case of Mr. Valdemar"

Produced by
Claudio Argento .... executive producer
Dario Argento .... executive producer
Achille Manzotti .... producer
 
Original Music by
Pino Donaggio 
 
Cinematography by
Peter Reniers (director of photography)
 
Film Editing by
Pasquale Buba (segment "The Black Cat") (as Pat Buba)
 
Production Design by
Cletus Anderson (segment "The Black Cat")
 
Set Decoration by
Diana Stoughton  (as Diana L. Stoughton)
 
Costume Design by
Barbara Anderson 
 
Makeup Department
Everett Burrell .... special makeup effects artist (as Everett Burrel)
Terrie Godfrey .... assistant makeup artist
Will Huff .... special makeup effects artist
Jeannee Josefczyk .... hair stylist
Jeannee Josefczyk .... makeup artist
Tom Savini .... special makeup effects supervisor
John Vulich .... special makeup effects artist
 
Production Management
Carol Cuddy .... production manager
Fabrizio Diaz .... production manager: Rome (as Fabrizio Cico Diaz)
Fernando Franchi .... general manager
Andrea Tinnirello .... production supervisor
 
Second Unit Director or Assistant Director
Luigi Cozzi .... second unit director
Fred 'Fredo' Donatelli .... second assistant director
Nicholas Mastandrea .... first assistant director
Maria L. Melograne .... second assistant director (as Maria Melograne)
Nicola Pecorini .... second unit director
 
Art Department
Eloise Albrecht .... set dresser
Lawrence Bailer .... assistant set designer
Charles Ballew .... scenic artist
Norman Beck .... props
Francine Byrne .... set dresser
Nora Cline .... scenic artist
Eileen Garrigan .... set painter
Marty Garrigan .... property master (as Martin Garrigan)
Thomas J. Garrigan .... property department (as Thomas Garrigan)
Frederika Gray .... first scenic artist
Howard Jones .... chief carpenter
Gary Kosko .... art department coordinator
Paula Payne .... scenic artist
Jim Schneider .... lead man
Louis P. Taylor .... construction coordinator
Mark Worthington .... art production assistant
 
Sound Department
Nick Alexander .... adr editor: Rome
Luciano Anzellotti .... additional sound effects (as Luciano Anzelotti)
Luciano Anzellotti .... foley artist (as Luciano Anzelotti)
Massimo Anzellotti .... additional sound effects (as Massimo Anzelotti)
Massimo Anzellotti .... foley artist (as Massimo Anzelotti)
Felipe Borrero .... production sound mixer
Romano Checcacci .... sound re-recording mixer
Cesare D'Amico .... dialogue editor: Rome
Tommy Louie .... boom operator
Federico Savina .... stereo sound consultant: Dolby Stereo
 
Special Effects by
J.C. Brotherhood .... ram effects
Kevin McTurk .... special effects makeup
Tom Savini .... special effects
 
Stunts
Norman Douglass .... stunts
Andy Duppin .... stunts
David S. Lomax .... stunts (as David Lomax)
Phil Neilson .... stunts
Mick O'Rourke .... stunts (as Mike O'Rourke)
Michael Russo .... stunts (as Mike Russo)
Tom Savini .... stunts
 
Camera and Electrical Department
Joe Abeln .... electrician
Erik L. Brown .... first assistant camera (as Erik Brown)
Bart Flaherty .... grip
Marcello Gabriele .... lighting director
Brian Haughin .... electrician
John Janusek .... best boy grip
Barry Kessler .... electrician
Beth Kukucka .... still photographer
Michael J. Latino .... first assistant camera (as Michael Latino)
Ed Letteri .... gaffer
Fernando Massaccesi .... gaffer
Frank McGough .... best boy electric
John S. Moyer .... second assistant camera (as John Moyer)
Nicola Pecorini .... Steadicam operator
Joseph 'Bruno' Pelle .... grip
Frank Perl .... camera operator
Fred Pope Jr. .... generator operator (as Fred Pope)
Rich Sieg .... grip
Nick Tallo .... grip (as Nick 'Bomba' Tallo)
Ted Wiegand .... electrician
 
Casting Department
Donna M. Belajac .... local casting (as Donna Belajac)
Staci A. Blagovich .... extras casting (as Staci Blagovich)
Christina Romero .... local casting
 
Costume and Wardrobe Department
Kathy Borland .... wardrobe supervisor
Diane Collins .... seamstress
Melinda Eshelman .... wardrobe assistant (as Mindy Eshelman)
Debra Marks .... seamstress
Nancy Palmentier .... wardrobe supervisor
 
Editorial Department
John S. Bich .... second assistant editor
Ray Boniker .... assistant editor
Pasquale Buba .... executive editor
Lorenza Franco .... first assistant editor: Rome
 
Music Department
Sergio Marcotulli .... music mixer
Natale Massara .... conductor
Paolo Steffan .... musician: synthesizer
 
Transportation Department
Jon Bergholz .... transportation coordinator
Edward J. France .... driver
Anthony J. Yannone .... transportation captain
 
Other crew
Bert Bell .... interpreter
Lisa Bradley .... production office coordinator
Kathy Carthers-Wayne .... choreographer
Greg Day .... public relations: international
Carlo Du Bois .... production accountant: Rome
Allegra Elson .... production secretary
Kenneth Gargaro .... dialogue coach
Kevin Halloran .... location consultant: PBS
Enrico Lucherini .... unit publicist: Italy (as Lucherini-Fantoli)
Aldo Mafera .... title designer
Judy Matthews .... location manager
Matthew Myers .... production assistant
Chris Peworckik-Call .... cat wrangler
Grant Rhinehart .... craft service
Andrew Sands .... production assistant
J.S. Shoe .... script supervisor
Luciano Tartaglia .... production accountant
Burton White .... dialogue coach
 

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
"Due occhi diabolici" - Italy (original title)
"The Black Cat" - International (English title) (segment title)
"The Facts in the Case of M. Valdemar" - International (English title) (segment title)
See more »
Runtime:
120 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Company:

Did You Know?

Trivia:
Director Dario Argento originally planned a cable show based on the works of Edgar Allan Poe. George A. Romero had agreed to direct the pilot hour "The Facts in the Case of Mr. Valdemar", Michele Soavi was inked for "The Masque of the Red Death (which had been Romero's original choice) and Richard Stanley was up for "The Cask of Amontillado" (Michael Gambon had been cast as Fortunato and Jonathan Pryce as Montressor). Sadly Romero struck out and only one further episode ("The Black Cat") written and directed by Argento himself was produced. The other scripts ended up on the shelf.See more »
Quotes:
Dr. Robert Hoffman:Try to think logically. There is a logical explanation for everything.See more »
Movie Connections:

FAQ

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4 out of 5 people found the following review useful.
delivers, up to a point, for both sets of fans; it's Poe with a chaser of slightly modern twists, 5 February 2008
Author: MisterWhiplash from United States

It's always tricky to evaluate a filmmaker when at work on a film that is in an in-between realm of short and feature. Actually, by technical ruling (or what would be considered by most festivals), it is feature-length with each segment. But I found Two Evil Eyes an underrated effort, after reading many mixed reviews (many leaning to the lesser side for especially Romero's film, and some faint praise for Argento's). The Facts in the Case of Mr. Valdemar and The Black Cat are not the tippy-toppest best for either filmmaker, and for Romero it's a strange kind of quasi-conventional experiment while Argento stays in somewhat familiar territory. Each has its own strengths, own weaknesses, and it's a fine little treat.

'Valdemar': This starts with the veneer of what comes in the range of something like a cross between daytime Soap and a 40s melodrama. A woman (Adrienne Barbeau) married Mr. Valdemar late in life, and as he's about to die (and soon does) she stands to collect a load of money with her cuckold- a smooth operating doctor who has a knack for hypnosis.

What unfolds after his death, and their cover-up in order to secure more funds, is something still like a 'living-dead' movie for the director, but more psychological in head-games and, to be sure, a faithfulness to the Poe source. It is a peculiar feat to adjust to in seeing Romero, at least in the first half hour, directing more like an old pro of the studio era than with his trademark panache in editing and shocks.

This time he brings on the dread in a gradual fashion, built on guilt and paranoia, and then as Valdemar is in that freezer, a Gothic form of psychosis: two people stuck with a body, and a voice, they can't get rid of and become absorbed with. I liked it a lot- maybe more than I should have from what I read (the 'Soap' argument against it I read before, though Romero does try to give his actors more to work with than any hack would)- as it preys on the fear of death as not a final measure, with one last wicked kick in the nuts with that bed scene. Top shelf Romero? Not quite, but it's still oddly gripping, like a polished piece of clichés giving way to a wild head game of "old-school" horror.

8/10 'Black Cat': Argento's dip in the Poe pool goes to the lengths that he as a director always goes to: elaborate-to-the-Italian-horror degree style in camera and deranged horror, and even bits of dark horror that almost make Poe seem tame. I can't say how much this is tied into Poe more than I can Valdemar, but try as I might I couldn't see this as being totally peak Argento either, despite (or almost in spite of) everything he has going for it. Like Valdemar, it's about someone not coping with life after death; a photographer (Keitel) into the macabre, with a (color me shocked Argento) violinist girlfriend, has a black cat, whom the photographer strangles while taking some provocative photos. She knows he's behind it, but he can't stop himself- he needs another cat- just like the old cat- which will meet some grisly consequences.

Keitel's always game for something like this part, which plays like his Bad Lieutenant gone Grand Guignol, which makes for one of the best pleasures of the project. He doesn't have a whole lot of range in the role, but it's a fun one for him, chewing on the meat that Argento throws out for him scene after scene. Argento, meanwhile, even for *him* overdoes it with the horror music in certain scenes, and dares to go to too much excess with the symbolism of the white spots on the cat. But it's totally a wonder to see that dream sequence, where Keitel is in the midst of a medieval Pagan sacrifice, with a sharp cut-away in the most violent bit.

And I loved the pleasure that Argento takes in enlivening Poe's macabre with his own, with the violence extending from mania into the visual. I had my complaints at times, but it's hard to not throw up one's hands with Argento and say "why carp!" when he's unabashed in his passions of mostly constant camera movement (tracking, cranes, close-ups, pans, you-name-it) and illogical steps in plot (i.e. why Keitel's character would even put out a book with cat deaths knowing his girlfriend might see them, let alone so soon).

8/10 Bottom line, fans of the directors should check out the films, and decide for themselves how they do. It's two tall tales of curses and death, derangement and the surreal, and it's a concoction worth at least one viewing.

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