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Deep Red (1975)

Profondo rosso (original title)
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2:43 | Trailer

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A pianist is unwittingly pulled into a complex web of mystery after witnessing the brutal murder of a psychic.

Director:

Dario Argento
1 win & 1 nomination. See more awards »

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Part three of the "Three Mothers" trilogy which takes place in Rome and has to do with Mater Lachrymarum (The Third Mother).

Director: Dario Argento
Stars: Asia Argento, Cristian Solimeno, Adam James
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Cast

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

Plot Summary | Plot Synopsis

Taglines:

Flesh Ripped clean to the Bone... And the Blood runs Red... See more »


Certificate:

R | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Italy

Language:

Italian | German

Release Date:

11 June 1976 (USA) See more »

Also Known As:

Dripping Deep Red See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (R-rated) | (export)

Sound Mix:

Mono | 4-Track Stereo (Japan theatrical release)

Color:

Color (Eastmancolor)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

The main female character is played by director Dario Argento's then-partner, Daria Nicolodi - mother of his daughter, Asia (who also later appeared in his films, most notably, 'The Stendahl Syndrome') - who went on to co-write/influence his next two films, which focused on supernatural/witchcraft themes ('Suspira' especially) as she had local (Italian) knowledge of these subjects. In this film, Argento gives her, for the times, an uncharacteristically independent, strong-willed woman role. This is made most clearly in her arm wrestling scene with co-star David Hemmings, in which she consistently "wins" the battle, as well as in the placement of Hemmings at a lower level to her in the dilapidated Fiat 500 she drives, and in the scene where she pulls a young colleague's hair to get his attention. See more »

Goofs

The wires controlling the bird are visible when it flies into the knitting needle. See more »

Quotes

Calcabrini: What are you doing in Italy?
Marcus Daly: I am a pianist. Jazz. I teach here at the conservatory. I teach jazz.
Calcabrini: And you play the piano, right? So, in that case you don't have a job, right?
Marcus Daly: I told you, I'm a pianist.
Calcabrini: Yeah, sure.
See more »

Crazy Credits

The opening credits are interrupted halfway through by a murder scene See more »

Alternate Versions

A full screen Italian language version with American Subtitles contains the credits scene with David Hemmings reacting to the death of the killer in a pool of blood. The last few frames pause the image finally. See more »

Connections

Referenced in Music to Murder For!: Claudio Simonetti on Deep Red (2011) See more »

Frequently Asked Questions

See more »

User Reviews

 
A masterpiece, depending on which version you see
7 March 2005 | by LibretioSee all my reviews

DEEP RED (Profondo Rosso)

Aspect ratio: 2.39:1 (Techniscope)

Sound format: Mono

After witnessing the brutal murder of his psychic neighbor (Macha Meril) by person or persons unknown, a British musician in Rome (David Hemmings) obsesses over details of the crime and uncovers a series of clues which lead to further bloodshed and horror.

Released in Italy at 126 minutes, Dario Argento's seminal psycho-thriller was edited down to 105 minutes for European exhibition and further curtailed to 100 minutes for the American market, where it was dismissed by critics as an incoherent mess. In fact, this was Argento's return to the giallo format following a brief - and unlikely - detour into comedy (FIVE DAYS OF MILAN), and the first time he was allowed to 'cut loose' and indulge his unique sensibilities. All the elements of a classic Argento thriller are here: Eccentric characterizations, outlandish plot twists, and a series of Grand Guignol set-pieces that would revolutionize the genre. Using the wide, w-i-d-e screen to create a bold visual tapestry, Argento's film thrives on offbeat sounds and images: The child's song which pre-empts the shocking murders; the heart-stopping moment when Hemmings glimpses Meril at her apartment window as the killer lunges at her from behind (a shot which is both horrific and profoundly humane, all at the same time); the crazy-surreal mannikin which appears from nowhere and 'confronts' a potential victim; and the climactic revelation of the killer's identity as Hemmings finds damning evidence literally staring him in the face. Hemmings is the heart and soul of the entire picture, an innocent abroad whose inquisitive nature fails to mask his essential cowardice, and there are fine supporting performances by Daria Nicolodi, Gabriele Lavia and Clara Calamai in pivotal roles.

The European print which played outside Italy is a tightly-controlled whirlwind of horror and suspense, incorporating character development and violence cut from the American variant. However, the complete Italian version is another matter altogether: Except for the extra material added to Hemmings' search of 'The House of the Screaming Child' (where an important clue is literally concealed in the brickwork), the additional footage simply pads proceedings to breaking point. Whereas the characters were once defined by their experiences, the longer print includes lengthy dialogue exchanges which ramble well beyond their relevance to the plot. Still a masterpiece, the movie works best at 105 minutes, though the flawed Italian edition is no less sumptuous and invigorating.

Sadly, DEEP RED contains one of the most dubious images in Argento's entire filmography: A shot of a lizard impaled on a needle, done for real. This monstrous act of cruelty is inexcusable, given that Argento had hired ace effects technician Carlo Rambaldi, previously responsible for *simulated* animal carnage in Lucio Fulci's A LIZARD IN A WOMAN'S SKIN (1971) which was so realistic, it landed the director in court!

(English version)


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