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 ... See full summary »
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 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 family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
A young opera singer (Betty) gets her big chance when the previous star of a production of Verdi's Macbeth is run over by a car. Convinced the opera is bad luck she accepts, and becomes the target (in Argento's unmistakable style) of a psychopath - a man she has been dreaming of since childhood. Written by
David Carroll <email@example.com>
The ending of the movie is inspired by the ending of Thomas Harris's book "Red Dragon". In an interview in Luca M. Palmerini's book "Spaghetti Nightmares", Dario Argento states that he did not like Michael Mann's Manhunter (1986), the first film adaptation of "Red Dragon" which used a completely different ending from the one in the novel, but is a fan of Harris's novel. (Ted Tally's screenplay for Red Dragon (2002) later adapted this ending more faithfully.) See more »
In the killer's POV shot entering the costume workshop, the camera and camera dolly are seen in a mirror on the right. See more »
Although many have mixed feelings about this latter day giallo thriller from Argento, it still stands as another lavish testament to the cinematic brilliance that is Argento.
A young opera singer has her first break out performance and suddenly finds herself the subject of obsession for a crazed maniac.
In a way, Opera is like a modern-day giallo take on Phantom of the Opera blended with all the glorious style and color that one would expect Dario Argento to deliver. Argento makes terrific use of inventive camera techniques, reoccurring symbols (like those ravens!), Gothic atmosphere, and truly gruesome murder sequences. One scene especially (which involves a peep hole and a gun) will knock viewers right out of their seats! Story-wise the film also manages to be gripping with some strong suspense and given great atmosphere by Claudio Simonetti's gorgeous music score.
The cast does some satisfying performances. Cristina Marsillach is good as our leading lady. The late Ian Charleson does a nice turn as the director, as does Urbano Barberini as an investigator, Daria Nicolodi as Marsillach's agent, and William McNamara as Marsillach's ill-fated lover.
Opera is terrific latter day Argento, and perhaps the last of his great works. It's sure to please his fans and even create some new ones.
**** out of ****
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