A musician witnesses the murder of a famous psychic, and then teams up with a fiesty reporter to find the killer while evading attempts on their lives by the unseen killer bent on keeping a dark secret buried.
A newspaper reporter and a retired, blind journalist try to solve a series of killings connected to a pharmaceutical company's experimental, top-secret research projects and in so doing, both become targets of the killer.
A young man tries to help a teenage European girl whom escaped from a clinic hospital after witnessing the murder of her parents by a serial killer and they try to find the killer before the killer finds them.
A psychic who can read minds picks up the thoughts of a murderer in the audience and soon becomes a victim. An English pianist gets involved in solving the murders, but finds many of his avenues of inquiry cut off by new murders, and he begins to wonder how the murderer can track his movements so closely. Written by
Ed Sutton <email@example.com>
In Carlos' lover's bedroom we see them leaving with the following order: 1st Carlo, 2nd Marcus and 3rd Carlos' lover. But when reaching the door we see: 1st Carlo, 2nd Carlos' lover and 3rd Marcus. See more »
[Back at the car with Marc]
What'd you do?
Nothing. Don't pay any attention; my father's just a little crazy.
[At Rodi's feet, a lizard with a pin through it's head, squirming on the ground]
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Deep Red is not, I am sorry to say, a perfect film, no matter what some people may try to say. This rests entirely on about half an hour or so of footage, mostly cut in the initial American release, that simply should never have been in the movie; most falls entirely in the category of failed comic relief (although some of it, the arm wrestling scene for example, is very important, and the "director's cut" is certainly the version to watch).
The rest of the movie, on the other hand, is a masterpiece. Vaguely similar to (but far superior than) some of the more Hitchcock-esque work of Brian De Palma, "Deep Red" makes the intelligent choice to forget careful narrative believability (it makes much more sense than most "thrillers", though) and immerse the viewer completely in a bizarre, disjointed nightmare, edged on by the audacious Goblin soundtrack and some of the most brutally dazzling murder scenes ever filmed (although not the goriest, exactly; I'd still advise those with weak stomachs to stay far away), which explode from the plot-line (which itself is really made up of an unfolding series of jagged vignettes that finally coalesce in a jaw-dropping finale, a precursor in many ways to David Lynch's "Mulholland Drive") every so often to amaze us with acts of cinematic virtuosity, sort of like the songs of an old MGM musical.
Even better than the brilliant "Suspiria","Deep Red" is the giallo film to watch, and the ideal place to start for absolutely anyone interested in this weirdly fascinating sub-genre. It certainly makes the last 25 years of American "thrillers" look tamely pathetic, to say the least.
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