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 <firstname.lastname@example.org>
The idea of the pins-under-the-eyes torture device came from a joke of Argento's. Argento said it would annoy him when people would look away during the scary scenes in his films. He would jokingly suggest taping pins under people's eyes so they couldn't look away from the film. It would late materialize on the screen for this film. See more »
When in the wardrobe studio to repair the damaged dress, the wind is blowing on sheets of fabrics laying on the floor. While the camera is traveling forward, it pans to the right, and the camera crew is visible in a mirror's reflection. See more »
You bastard! Son of a bitch! You're not going to get me! You're not! I'll kill you!
See more »
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 »
Knights of the Night
by The Group Steel Grave
By Arrangement with Franton Music/Walkman SRL See more »
I usually like Argento
Willing suspension of disbelief.
You've got to have that for a horror flick, but the characters in this flick have got to be the dumbest lot that Argento has created. After the first murder, the main actress calls the police but won't tell them anything about the murder. Then when a second character shows up, just driving around the city streets at night, she sits in his car, obviously distraught, but refuses to give any indication of what she has just been through.
The set piece where the killer is exposed is just as contrived, taking place in front of hundreds of people with no real indication that the killer would be at the scene.
Then there is the ending, totally out of joint with the rest of the film, where for a moment we get the hope of something original, ala the book version of Hannibal, but no, once again we are presented with brain numbing absurdity.
While the Anchor Bay DVD is beautiful, and we have a nice documentary about the making of the film, I think Argento says it best when he states that "After the movie he went to India for a while, because he thought he had made a bad movie." The documentary ends on that note, as does this review.
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