When a young opera singer takes over the leading role in an avant-garde presentation of 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?
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A brilliant if not slightly disjointed masterwork. Seamless use of multiple POVs, excellent camera tricks (the eye drops!) and they even get the fucking CROWS to act in this movie. Super cute power suit lesbian runs from robe bondage killer. Perfection!
The scene with the scissors had my MOUTH. WIDE. OPEN. Even when it devolves into a daylight heavy metal nightmare, it's horny af. SING MY ANGEL OF MUSIC!!!
One of my favorite Argento films: an artistic examination of different kinds of viewing. The camera is intriguing - especially the movement through rooms and staircases -, like the use of different types of music or the work with colors and shadows.
Gleeful slasher tactics mix with grace in camera technique, creating Argento's most non-convolutedly plotted 'great' film of his career. The leads are enough developed and the idea of needles under eyes to make our heroine an unwilling spectator to the brutal murders of her friends is terrifying. The rock music dilutes these scenes disturbing impact, but perhaps it's needed in this take on Grand-Guignol, Comic-opera.
You have to be familiar with Argento to appreciate this, i guess, the way you have to understand De Palma not to judge too quickly some of his films. Sure there are some flaws, terrible acting and dialogues, problems of coherence, the all thing is hardly believable (but show me a Hitchcock that is believable). Argento's eye for images and the spectacular cinematography are so catchy that everything is forgiven.
Argento´s last great movie where he manages to update and modernize his style with great success. The camera work is very good and adds some real suspense to the proceedings. The acting is pretty good for the most part and the dubbing is OK. Production design and music is also very good. Storywise the movie works very well for an Argento movie and he plays it as straight as possible.
***1/2 With OPERA, Dario Argento presented, in 1987, the most fluent film of the first half of his career. I also liked the way the director blends in OPERA's heroin with Jennifer, PHENOMENA'S heroin, in the last ten minutes of the movie. Recommended.
Argento's last decent film, its spectacular raven's eye shots of the opera theatre and gory visuals making up for a nonsensical script and an entirely misjudged metal soundtrack. It's always best not to dig too deeply into the hole-ridden plot, and instead enjoy the escape through an unusually large air duct or Betty's impressive calmness and philosophical musings as the corpses pile up. Just don't close your eyes.