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 young man tries to help a teenage European girl who 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.
Two horror tales based on short stories by Edgar Allan Poe directed by two famous horror directors, George A. Romero and Dario Argento. A greedy wife kills her husband, but not completely. A sleazy reporter adopts a strange black cat.
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>
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 »
You bastard! Son of a bitch! You're not going to get me! You're not! I'll kill you!
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The version prepared by Orion Pictures for an American release in 1988 was edited to 96 minutes, removing the scene of Mara Cecova hurling her glass at the TV, much material involving the little girl next door to Betty, and Betty's final crawl through the grass in the final scene. The U.S. plans were scrapped, and this version was released by RCA/Columbia on Japanese laserdisc and as a bonus on Arrow's two-disc DVD reissue in England. See more »
Yesterday, I watched a recording of Dario Argento's OPERA (1987) taken from Anchor Bay's R1 DVD, and I must say I agree with many of you here that the film was pretty good (if a bit heavy on flamboyant camera moves) for the first 90 minutes - but then went completely bonkers towards the end. The ending is mystifying, to say the least (the bug-loving scene most of all), and horribly executed to boot! The heavy-metal soundbites were a pain too; actually, I felt that the entire music score was relatively subpar for an Argento film. As usual, the hideous dubbing was another major drawback.
There seems to be some disagreement about Cristina Marsillach's contribution: for me, she's very nearly Argento's best leading lady, quite in the same class as Jessica Harper in SUSPIRIA (1976) and Jennifer Connelly in PHENOMENA (1984).
The hectic backstage activity and the masked killer reminded me a lot of Mario Bava's BLOOD AND BLACK LACE (1964), though comparisons with that landmark film only helps to bring out more OPERA's shortcomings. The elaborately staged murders were rather hit-or-miss as well: the butchering of the stage manager and Daria Nicolodi's legendary death scene, at least, were classic Argento. The big scene with the ravens, ingenious in itself, was too protracted for maximum impact.
All in all, it's not one of Argento's best but then, apart from DEEP RED (1975) and SUSPIRIA, all his films leave a lot to be desired though I'm sure everyone here has his or her own personal favorite.
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