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>
The character of Marco, the horror director turned opera director, was based on Dario Argento himself. 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!
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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 »
This is not Argento's best film by far, but if you are a fan of the director, or just a fan of the horror genre in general, this movie is worth a watch. Argento is always original, and Opera is no exception. His death scenes are top notch. Nothing of his that you watch is the same as anything else out there. On top of this, Opera is visually stunning, with beautiful backdrops drenched in lots of color; this is an Argento staple. Subjective shots are constant, which is also an Argento staple, but in Opera it is a little different. With Argento, subjective shots usually show the world through the eyes of the killer and make the audience relate to him or her. In Opera the audience also sees through the eyes of the victim, who is forced to watch everything unfold around her. The problems with this film are the acting and the script. Starting with the former, Argento's young leading lady gave him problems throughout the shoot. She did not take direction well due to her inexperience; Argento claims this is the first time it ever happened to him. With the script, there are holes throughout the story, and everything gets wrapped up a little too neatly as the killer explains why it all happened. The ending is also dreadful. The company releasing the film in America asked Argento to cut the final scene, but the director refused.
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