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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 <firstname.lastname@example.org>
In Carlo's lover's bedroom we see them leaving in the following order: first Carlo, second Marcus, and third Carlo's lover. But they reach the door in the order: first Carlo, second Carlo's lover, and third Marcus. See more »
Look, maybe you've seen something so important you can't realize it.
But... I'm just trying to understand, because... Carlo You know, sometimes what you actually see and what you imagine... get mixed up in your memory like a cocktail... from which you can no longer distinguish one flavor from another.
But I'm telling you the truth! Carlo No Marc. You think you're telling the truth, but in fact... you're telling only your version of the truth. It happens to me all the time.
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The opening credits are interrupted halfway through by a murder scene See more »
As with other Argento giallos, the accent in "Deep Red" is on the visuals: the artsy sets, the garish lighting, the tendency for the camera to dwell on brutal details. Images are stark, with high contrast in lighting. And there's lots of visual symmetry. Emotionally, "Deep Red" is cold, entirely appropriate, given that the theme relates to the psychological coldness of a killer.
But unlike "Suspiria", wherein the story is almost irrelevant, "Deep Red" has an intriguing premise, with a plot that, although slow to get going, is nevertheless coherent, and builds to a riveting finale. I was quite surprised at who the killer was. Clues are very subtle, but they're there, if you know where to look. There's a nifty plot twist toward the film's end. I like the visuals in all of the Argento films I have seen. But "Deep Red", more than others, has a better developed story line. As such, the film is my second favorite Argento giallo. My personal favorite is "The Bird With The Crystal Plumage".
Weak dialogue and weak characterization permeate Argento's films. But his fans don't seem to mind. I certainly don't. What I did find annoying in "Deep Red" was the background music. Most viewers like the sound of Goblin. But to me, the music was too frantic, and not really suitable for a thriller.
There are few contemporary horror films that compare to those of Dario Argento. His giallos are: Gothic, brutal, impressionistic, artistic, and sometimes surreal. "Deep Red" is one of the best.
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