A group of auditioned stage actors rehearse for an upcoming musical production. While locking themselves in the theater for rehearsal, not knowing that an escaped psychopath sneaked into the theater with them.
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Feodor Chaliapin Jr.
Slightly traumatized and painfully shy Angela Baker is sent away to summer camp with her cousin. Not long after Angela's arrival, things start to go horribly wrong for anyone with sinister or less than honorable intentions.
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The 1960's counter culture limped into the 1970s dragging with it a legacy of social confusion, dependency on drugs and promiscuity. In STAGE FRIGHT, shot in Baltimore, the era is satirized... See full summary »
A troupe of struggling stage actors is rehearsing for a small-town production of a play. Everything seems to be as it should until one of the cast members turns up dead. In a panic, the others try to get out, only to find they are now locked in the theater with the killer! Which one of them committed the murder, and who will get out alive? Written by
Jean-Marc Rocher <email@example.com>
At Minute marker 43:38 you can see a black and white photo of the villain from Joe D'Amato's . See more »
In the security office, there are two copies of the exact same issue of Time magazine - one in the drawer and one on top of the desk. See more »
I... I just went to get the gun, trying to show you how to put a bullet in the chamber. See that? I got him right between the eyes! Just like I said... Right between the eyes! Damn... You see that Ally? Right betw... right between the eyes! Just like I said. Between... between the eyes. Got him... I got him, right between the eyes Ally! I got the fucker right between the eyes. Right between the eyes Ally. Just like I said... Right between the eyes!
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A very satisfying thriller, visually and aurally, worth multiple viewings!
STAGEFRIGHT aka AQUARIUS is a very stylish chiller from Michele Soavi, whose critical reputation rests on this film and the later CEMETERY MAN.
Certainly the film is derivative, and fans of this subgenre will surely comment that they have seen it all before; however, Soavi, like his mentor Dario Argento, is astute when he chooses the likes of ENNIO MORRICONE; GOBLIN, and now SIMON BOSWELL to score his films.
Boswell's compositions together with the opening and end titles written by Stefano Mainetti propel the film along, and provide an aural edge to the onscreen visuals. And if their contributions were not enough, the inspired, and uncredited use of Dmitri Shostakovich's 8th symphony, 3rd movement ("allegro non troppo"), reflects the imaginative touches that distinguish this film from many others.
The play/film within a film works quite well, especially as the cinema is acknowledged to be the art of illusion; indeed this conceit looks ahead to the two DEMONS films, set in a cinema, where the audience are overwhelmed with illusion become reality.
The acting is more than sufficient as the characters are written as types, and set up as victims, just as the heroine has a personality that sets her apart. Her final scenes with the killer are very effective indeed; her fearfulness make her vulnerable, her vulnerability draws us to her, and in drawing us to her, we submit to the relentless onslaught the killer pursues.
This is a film where the viewer/audience surely knows the outcome, but the satisfaction comes from the execution - literally - of the route that the filmmaker takes.
I now have this film on a budget UK DVD which reveals little - I am playing it back on a 16:9 TV, and am very pleased with the quality of the sound (mono) and the visuals, plus some of the unusual, though rare basic extras.
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