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 <firstname.lastname@example.org>
Originally, Columbia Pictures intended to release the film theatrically in Germany in 1988 but after the FSK (Official German Censorship) demanded to cut out almost 25 minutes, mostly violence (among others the two scenes with Betty wearing the needles), it was released straight to VHS, even though a theatrical release has already been announced. 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 »
In the UK, 47 seconds were cut for the original UK cinema and video releases with edits to the stabbing of Santini and a shot of a girl being stabbed in the mouth with a pair of scissors. The cuts were fully restored for the 2002 DVD release. See more »
If you're OK with the outlandish work of Italy's premier horror directorable to accept his outrageous story lines and flamboyant stylethen you should have a great time with Opera. If you don't, then you won't.
Cristina Marsillach plays Betty, a beautiful young opera understudy who is given a shot at fame (in an avant-garde production of Macbeth) when the star of the show is hit by a car. As any thesp who has 'trod the boards' will know, Macbeth is a production that carries a curseand Betty soon discovers that the show in which she is now the star is no exception: a killer is systematically offing the staff at the theatreand poor Betty is forced to watch by the sadistic murderer (who tapes needles under her eyes to prevent her from closing them!).
With the help of a little girl who crawls through her air-conditioning ducts, her director and agent, and a few ravens who have seen the murderer's face (!!!), Betty discovers the killer's identity, and the truth about her mysterious past.
Let's face it... Opera is one crazy film, with its preposterous plot-turns, convoluted death scenes, and an ending that beggars belief. And whilst director Dario Argento has never been one for, shall we say, conventional story lines, this particular giallo is so daft, and features so many of his trademark stylish touches (all ramped up to the max), that it's almost as if, with each successive film, he is seeing what he can get away with (at times almost parodying his earlier work).
This is exactly why I find the film such fun!!!
Argento's camera movements are absolutely incredible: gliding, creeping and, in one amazing scene, even swooping around the opera house above the audience; the power of Verdi's music is combined perfectly with the synth majesty of Claudio Simonetti's score, providing a suitably grandiose accompaniment to the sumptuous visuals; and several outstanding set-pieces (featuring Sergio Stivaletti's nauseating gore FX) go to prove that no-one does death better than Argento (check out one character's stunning demise, in which a bullet passes through a spy-hole in a door in slow motion, and straight into their eye!).
7.5 out of 10, rounded up to 8 for IMDb.
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