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Deep Red (1975)

Profondo rosso (original title)
Trailer
1:28 | Trailer

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A jazz pianist and a wisecracking journalist are pulled into a complex web of mystery after the former witnesses 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:

When was the last time you were REALLY SCARED!!!? PSYCHO? The EXORCIST? JAWS? Now there's DEEP 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

From 47:02 to 47:19, in the scene where Marcus and Carlo (Hemmings and Lavia, respectively) are jointly playing the piano, a woman in a hat can be seen sitting down holding a cup of coffee. This woman is styled after the famous painting "Automat" (1927), by Edward Hopper. This is the second reference to a Hopper painting in the film. See more »

Goofs

The notes being played during Marc and Carlo's duet in the bar sound nothing like what they appear to be playing (the high notes sound much faster than what the actors are miming). See more »

Quotes

Rodi: Olga! Come back here this minute!
[Olga walks back to her father]
Olga: What is it?
Rodi: You little witch. I told you not to do that again!
[Slaps Olga across the face]
Rodi: Now off you go- go on!
[Olga gives her father an evil smirk as she backs away]
See more »

Crazy Credits

"You have just seen Deep Red." See more »

Alternate Versions

The Brazilian version omits an entire sequence of a tracking shot along the killer's table, with the drawings and the dolls, cutting directly from Helga in the theater to Helga on the phone. Also, the dialogue between Mark and Carlo in the piazza has a few lines cut out. See more »

Connections

Spoofed in Evil Dead II (1987) See more »

Frequently Asked Questions

See more »

User Reviews

Symphony in red.
27 July 2005 | by dbdumonteilSee all my reviews

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.


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