Deep Red (1975)

A musician witnesses the murder of a famous psychic, and then teams up with a feisty reporter to find the killer while evading attempts on their lives by the unseen killer bent on keeping a dark secret buried.

Director:

Dario Argento

Writers:

Dario Argento, Bernardino Zapponi (screenplay)

Stars:

David Hemmings, Daria Nicolodi, Gabriele Lavia

1 win & 1 nomination.

Cast

Cast overview, first billed only:
David Hemmings	...	Marcus Daly
Daria Nicolodi	...	Gianna Brezzi
Gabriele Lavia	...	Carlo
Macha Méril	...	Helga Ulmann
Eros Pagni	...	Supt. Calcabrini
Giuliana Calandra	...	Amanda Righetti
Piero Mazzinghi	...	Bardi
Glauco Mauri	...	Prof. Giordani
Clara Calamai	...	Marta
Aldo Bonamano	...	Carlo's Father
Liana Del Balzo	...	Elvira
Vittorio Fanfoni	...	Cop Taking Notes
Dante Fioretti	...	Police photographer
Geraldine Hooper	...	Massimo Ricci
Jacopo Mariani	...	Young Carlo (as Iacopo Mariani)

Storyline

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.

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Plot Keywords:

color in title | slasher | serial killer | murder | psychic | 

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Taglines:

You will NEVER forget it!!!

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Genres:

Horror | Mystery | Thriller

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Certificate:

X

Details

Country:

Italy

Language:

Italian

Release Date:

11 June 1976 (USA)

Also Known As:

Deep Red

Filming Locations:

Incir De Paolis Studios, Rome, Lazio, Italy

Company Credits

Production Co:

Rizzoli Film, Seda Spettacoli

Technical Specs

Runtime:

126 min 98 min (R-rated) 106 min (theatrical)

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

Co-writer Bernardino Zapponi said the inspiration behind the murder scenes came from Argento and himself thinking of painful injuries that the audience could relate to. Basically, not everyone knows the pain of being shot by a gun, but everyone has at some point accidentally struck furniture or been scalded by hot water.

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Goofs

When Marc is exploring the old mansion, we see some white dust in his shirt even before he scratches the wall, revealing the drawing and liberating such white dust.

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Quotes

[Back at the car with Marc]
Marc: What'd you do?
Olga: 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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Crazy Credits

"You have just seen Deep Red."

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Connections

References Blow-Up (1966)

User Reviews

Symphony in red.

Young generations might find it hard to believe ,but most of Argento's works were greeted by poor receptions when they were first released.Critics dismissed them as gaudy ,flashy,showy,you name it.

And now we are in 2005 ,and thirty years after,with hindsight ,that most fruitful part of Agento's works which begins with "Ucello della piume di cristalli"(1967) and ends -roughly- with "opera" (1987)shows how the frequently demeaned director was ahead of his time.Argento's work is art-house film!If Mario Bava or John Carpenter are,he is too.

Influenced by the former (color,lighting effects,depth of field,baroque settings),he had a strong influence on the latter,particularly for his use of music,which may seem trite at first listening but literally grows on you and leaves you completely panting for breath.

There's really an Argentesque geometry,a non -Euclidean one,and few other directors ( Alfred Hitchcock , Roman Polanski ) know how to depict a place and make it threatening for his characters.Argento,who certainly read Gaston Leroux ("le fantôme de l'opera" ) when he was young,loves the opera houses(or theater)."profondo rosso" begins on a stage where some kind of medium (Macha Meril) sees horrible things.People who have read Hergé's adventures of Tintin will notice the similarities between this scene and those pages in "the seven crystal balls" where Tintin and Haddock are watching Mrs Yamilah in a music hall."Opera" 's first scene also would take place in a theater as if the director told us "it's only a movie,do not worry" before treating us to the delight of the best scene with birds since Hitchcock's eponymous movie.

The sense of space which Argento displays is mind-boggling: depth of field,high and low angle shots,impressive lighting effects.His characters become Tom Thumb lost in the huge forest:think of the ballerina ,running away through the corridors ("Suspiria" ),James Franciscus in the graveyard ("il gatto...) ,Tony Musante in the lighthouse (Ucello ...),or Irene Miracle in the basement (Inferno).Here it's a true anthology:almost every place is memorable,from the corridor where the drama is resolved to the house where bad things happened long ago ,from the isolated house in the country -where Argento uses condensation as only a Conan Doyle,a Gaston Leroux or an Ellery Queen could have done it- to the school where weird drawings might be the final clue.To top it all,there's a sensational scene in a corridor ,which recalls Orson Welles' "lady from Shanghai.A "they do it with mirrors" trick which is still very impressive today.

Not only Argento creates fear with his disturbing settings ,but he makes us also ill-at-ease with his supporting cast:the gay with the androgynous face,the little girl who seems to be out of Fellini's "Toby Dammit" (1968),and of course Clara Calamai who was famous in the fascist years (Visconti's "ossessione" from "the postman always rings twice").

What about the screenplay?Well,like all Argento's movies I mention ,it's far-fetched and derivative ("psycho" ,"Marnie" for the final flashback).But it's delightfully far-fetched and smartly derivative .When today's horror flicks screenplays consist of one page (maybe two)of clichés ,Argento's ones have always been painstaking and labyrinthine .

It is one of the best works in Argento's much debated but absorbing filmography.No horror movie buff can ignore him.