Description: An Aria of Terror from the Maestro of Horror - DARIO ARGENTO
When a young opera singer takes over the leading role in an avant-garde presentation of Verdi's Macbeth, she triggers the madness of a crazed fan who repeatedly forces the diva to watch the brutal murders of her friends. Will the woman's recurring nightmare hold the key to the identity of this psychopath or does an even more horrific evil lay waiting in the wings?
The legendary Dario Argento (DEEP RED, SUSPIRIA) co-wrote and directed this savagely stunning thriller featuring some of the most shocking sequences of the maestro's entire career. Previously available in the U.S. only in heavily edited form, this horror classic has now been restored from original Italian vault materials and is presented uncut, uncensored and loaded with Extras.
If you've seen one Argento giallo, you've seen them all Dario Argento's "Opera" is a skillful piece of filmmaking, as are the vast majority of his movies. The central problem with Argento's giallos (and most giallos in general) is this: I've seen it all before. Basically, Argento hit upon a certain style (both in terms of plot and technique) a long time ago, and he's spent three decades repeating himself. If you want to experience Argento, you should START with "Deep Red" -- and you should STOP with "Deep Red." "Opera" is tedious because it's just like all of Argento's other giallos. If I want to see the same movie over and over again, I'll watch "Deep Red" again; watching "Opera" is a waste of time.
aka Terror at the Opera Murder scenes are very satisfying to gore fans. Not Argento's best but, if you are a fan of his I recommend you add this to your collection. Is entertaining but isn't a whole lot to ride home about, maybe a little to ride home about. It's overall a good film.
It didn't make sense, but that's the charm Like most Italian horror movies, this movie didn't make much sense. You just have to let logic fly out the window when you watch movies like this. All I can say is that's it's entertaining, and that's all that matters.
Beautiful Cinematography After seeing Opera for the first time, the impression you get is that it is definitely a case of style over substance as a lot of other reviewers have pointed out. But really if you've seen Argento's previous work you'll come to recognize this as a trait we all know and love.
The cinematography alone makes this film a must see for any horror fan. I get shivers down my spine whenever I see the opening title, it is just so dramatic not to mention the soundtrack is amazing.
The murders are fantastic: Brutal, Un-relenting and masochistic without adding a lot of silly gore to make it over the top and just gives it a dark evil feel.
I notice a lot of reviewers are complaining about the Heavy Metal tracks used throughout the film. May I remind you this was 1987? This was a time when metal ruled the airwaves hence it is not out-dated (not even by today's standards). If you ask me, Metal belongs in horror movies. It just makes them that much more fun not to mention the music flows very well with the dark gothic theme of the film.
This ranks on my top ten list of favourite horror films of all time for sure. I highly recommend this title as it is an important film in the horror genre of the 1980's. Along with Demons I'd say it was one of the best films made in that decade. Don't miss it.
A Night At the Opera (No Day at the Beach) I've always found there to be something unsettling about operas. I don't know if it's the often-dark themes of murder, suicide, and betrayal, the tragic endings, or the lovely voices that, after three hours, sometimes seem to morph into migraine-inducing caterwauling. Given my taste in films, theater, and books, I suspect the latter. It's not that I don't appreciate the opera, I just need for it to be in smaller doses. Which is exactly what I got in Dario Argento's 1987 thriller, "Opera". Set against the backdrop of an avant-garde production of "Macbeth", there are a few snatches of sopranic trilling here and there, and then it's back to the heart of the film: a stylish, colorful murder mystery involving a comely, ambitious young opera singer and the seriously twisted killer stalking her and her inner circle. The additional kick is that the killer is able to grab the singer at any time, tying her up, propping her eyes open, and forcing her to watch as her friends are viciously (and graphically) mutilated and slain. As usual with Argento, plot takes a back seat to lush cinematography, atmosphere, and inventively gory murders. For many directors, this could be a fatal blow, but with a masterful filmmaker of Argento's caliber, this only serves to enhance the film's mystery and cachet.
Although they are subjectively different, there is a certain similarity of cinematic styles and themes that, I believe, link Dario Argento to that great American surrealist, David Lynch. There is a certain dark, daring, "out-there" sensibility that can be found in each director's work, and it's seems like the films of one director compliment the films of the other.
The acting isn't bad in "Opera", although you get the feeling that some of the actors are basically winging it. Gorgeous Cristina Marsillach plays Betty, the up-and-coming diva, with panache and style; onstage, as Lady Macbeth, done up in a slinky, form-fitting gold number and matching skull cap, pointing a pistol and belting out an aria while live ravens swirl around her, she's death personified--a kinky, lusciously deadly Mata Hari. Offstage, as the more innocent Betty, her cool sexuality is far more subtle, yet unmistakably there. When she seeks help from the men in her life--boyfriend, director, police inspector--it's with the helpless expectancy of a lewd Lolita; the innocence is all surface. She thinks she's frigid so she needs someone to help her out (the masked and gloved killer is more than willing--at least that's what he says). Such paves the road for the psychosexual undertones of this tense thriller.
The late Ian ("Chariots of Fire") Charleson is also featured in the film, along with Argento's ex (and Asia's mother) Daria Nicolodi, Urbano Barberini, William ("Copycat") McNamara, Barbara Cupisti, and Coralina Cataldi-Tassoni, as potential victims of the maniac. Nicolodi is (as usual) impressive in the role of Betty's agent/surrogate mother, as is a very young William McNamara as Betty's would-be boyfriend. But the film really belongs to Argento, and star, Marsillach. Her Betty is probably one of the most complex and believable of Argento's heroines.
The only real problem I have with this film is the ending, which seems tacked on; appropos of nothing, it plays like a psychotic vision of "The Sound of Music". However, after giving it more thought (than it probably merits), I'm thinking that maybe this small portion of the film (or possibly even larger sections) is taking place in the post-breakdown mind of a heavily traumatized Betty. That analysis could be wrong, but the ending does seem to make more sense when viewed in that context. And, to be honest, that analysis is what put me in mind of David Lynch in the first place.
All in all, an excellent film that has far more depth than what many might realize, "Opera" is trademark Argento and ranks as one of his finest.
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