Deep Red

A prime example of how superior direction can elevate a film to something greater than the sum of its parts. At its core, Deep Red plays with the same basic structure and themes as any other giallo film. But with Dario Argento at the helm, the familiar tropes rise to a new plane of vibrancy and vitality that few other directors in the genre are able to achieve. There's so much subtlety in the way Argento accomplishes this: the way he carefully stages and photographs his set pieces, the fluid movements of his camera, the Hitchcockian escalation of suspense, the occasionally bizarre and dream-like flourishes, the off-color use of music. Each plays a crucial role in breathing life into the film and differentiating it from the competition, and the result is a film which earns its reputation as one of the best in the genre. Unfortunately I do still have some nagging issues, mainly with the pacing and the length of the film. At times it does feel as if it could've been tightened up into a slightly more well-oiled machine. And of course there is some cheesiness and stilted acting here and there which is pretty much par for the course for the genre. But when the film is at its best, it is quite arresting and certainly offers some of the best thrills the genre has to offer. Definitely one I look forward to revisiting.Strong 4/5

This has been one of the funniest movies I have watched in a long time. I'm talking 5-star comedy right here, and not for the right reasons mind you. Before I delve into the failures, I should first acknowledge one of the only high points. I must admit that I loved the way the camera moved during the film. Having moments where the audience is seeing the killer's point of view adds suspense whenever the camera shows the characters in potentially vulnerable situations. When the camera shows a character with his back turned, you quickly wonder whether you're seeing what the killer sees or if it's just a regular shot.Now, here comes the insanity:The plot is utterly ridiculous. Some pianist witnesses a murder and runs directly to the crime scene without calling the police? Then he suddenly becomes a pianist-detective determined to catch the murderer? He starts chasing leads and breaking into various places to look for clues. Who does this guy think he is? Aside from the character, the actor's performance is about as dull as it gets.The plot itself is kind of hard to follow. I was good up until the second kill. I have no idea who that person was, how they were connected to the killer, the motive for killing them, nor what led the pianist-detective to the victim's house.The twist is kind of cheap. I honestly found this movie because I was looking for a kind of murder mystery where you have to pay close attention to figure out who the killer really is. Granted, the movie gave me what I wanted and didn't make anything too obvious. However, I can only respect it when the ultimate reveal makes sense. I don't want to spoil it for anyone but all I'm going to say is that the reveal seriously calls into question the realism of the prior murders. Height, weight, strength, and age are all very important factors when you have a killer who doesn't use a gun. Knives and cleavers are helpful but when it comes to kills that rely on brute force, you can't just say "Well it's the killer so, it works." That leads to another big problem I had...Supernatural murderer. I absolutely despise when a movie makes a killer seem supernatural. What I mean by that is, the killer moves as silent as the wind, is always in the right place at the right time, and somehow always knows exactly which room the intended victim is going to be in. Unless the killer is a trained ninja, I'm not buying this super stealthy killer here. The absolute worst part was when the killer whipped out a giant mechanical contraption that served no purpose other than to scare and distract one of the victims. Then, despite rolling that puppy through door A, the killer gets the drop on the victim from the other side of the room. There's no way the killer stealthy snuck into someone's house with that giant thing unnoticed.Despite how bad this movie was, I did find myself laughing so hard at various points because of the sheer "WTF" moments. I'll just list them below:Detective-pianist.That whole arm wrestling bit.Finding a murder victim and NOT calling the police. (Seriously, you want to be Mr. Hero and solve the murders but you don't want to call the police when you find a dead body?)The police don't clean up the blood from a crime scene.Every single time something spooky/suspicious happens and the characters go to investigate.That one house that was pitch-black when the lights were cut even though it was daytime outside.THE LIZARD GIRL.The transvestite.Breaking and entering (both times).Walking/standing around in the dark for no reason.That mechanical kid contraption I mentioned earlier.The notion that people in a truck can't hear someone screaming as they're dragged along the street.Drawing as a school subject.The fact that past drawings from kids are stored in the library instead of being thrown out.Corpse behind the wall (and in a chair for some reason).Conclusion:As I said, the movie is hilarious. The gore is great, the deaths are pretty original, and I liked the camera movements. However, the plot, characters, and acting are so bad it's good...in a funny way.

Once again, Arrow Video gives the Criterion treatment to a highly-regarded genre classic. This time, it's Italian director Dario Argento's art/giallo classic,"Deep Red", and Arrow does a fine job upgrading the film's original elements with a brand new 4K restoration, along with a much-improved soundtrack. Also provided in this deluxe edition are bonus features such as interviews, critical analysis and a visit to Argento's shop in Rome (Profondo Rosso, which I managed to visit back in 2012), as well as a booklet featuring articles and thoughts on the film by author, Mikel J. Koven, and critic, Alan Jones. The images in the newly revamped film are (as expected) brighter and clearer than in the previous version I own, particularly in the haunted villa scenes, which are much less murky (but no less creepy), and the score by Goblin is even more jarringly effective now that the soundtrack has been cleaned up."Deep Red" (or "Profondo Rosso") is, justifiably, one of Dario Argento's most lauded films. Made in 1975, it starts out as a fairly standard murder mystery and then rather quickly morphs into a many-headed hydra, incorporating elements of the supernatural, romantic comedy, thriller and horror show as its bloody, convoluted narrative unfolds. Like the movie "Blow-Up" (my favorite 60's film), "Deep Red" features David Hemmings as the protagonist who witnesses a murder and then attempts to investigate it. Over the course of "Blow-Up" his character (a photographer) begins to doubt that the event he thinks he saw ever occurred: there's no body so maybe things weren't exactly how they appeared in his photographs. In "Deep Red", although there's a body, the Hemmings character (Marcus, a musician) quickly realizes that something doesn't quite add up in his recollection of the events. It's a skillfully rendered mystery that plays out masterfully in Argento's hands and, despite the initial similarities to Antonioni's iconic 60's film, "Deep Red" takes a much darker, gorier and, ultimately, grim turn.Actress Macha Meril, an occasional denizen of Italian horror films of the period, plays a psychic and starts off the film in Grand Guignol fashion: after reading the thoughts of an unknown psychopath in the audience at a parapsychology conference, she is stalked and brutally hacked to death in her apartment by a black-gloved intruder. Meanwhile, Marcus, having finished rehearsal with his band, is guzzling booze across the square with his gay best friend, Carlo (Gabriele Lavia). They hear a scream and Marcus looks up to see a bloodied woman being slammed against her window. Realizing that the woman lives in the apartment directly above his, he hurries up to her place and finds her dead. Recounting this tale to the (as usual, ineffectual) police, he immediately senses that something is missing from his story. But what? It takes the remainder of the film and a number of grotesque murders for him to finally piece things together, and by then, he's in mortal danger.The acting in "Deep Red" is very good across the board, which isn't always the case in many giallo films. Hemmings is a much more likable protagonist here than he was in "Blow-Up". He gives Marcus an air of vulnerability and confidence, without ever coming off as arrogant: he has a lived-in quality that makes him more relaxed and open. Marcus' scenes with his romantic interest, reporter Gianna Brezzi have a breezy, screwball quality that should throw off the movie's momentum, but somehow don't. As Brezzi, actress Daria Nicolodi shows off her skill as a deft comedienne, and she and Hemmings have a nice chemistry together, especially when he's playing straight man during her comedic antics; Nicolodi is, I think, at her best playing flighty, slightly daft characters (she was also great in "Opera"). Of course, this being an Argento movie, these humorous moments are only brief respites from the deadly business at the dark heart of this mystery. There are several elaborate death scenes that are trademark Argento. The most notorious involves Professor Giordani (well-played by Glauco Mauri) being confronted in his study by a mechanical doll that presages the eerily similar one in the "Saw" movies. The ensuing scene is both sadistic and squirm-inducing, although I found the later death-by-scalding of another character even more difficult to watch. By the end of the movie almost everyone is dead but all the actors have their moment to shine, however briefly. Gabriele Lavia, as Carlo, has the unenviable task of playing a self-loathing homosexual who is also an alcoholic (gays were still a few years away from being portrayed in a positive light, even by gay-friendly directors like Argento), but he's got even worse problems than that. Interestingly, Argento is known to play with gender. In "Deep Red", he has a woman playing Carlo's male lover; in "Tenebrae" Argento cast a transgender actor to play the femme fatale who psychically damaged the killer as an adolescent. In other roles, Giuliana Calandra fares well as a writer who knows more than she should , and Clara Calamai, a former screen siren of Italian cinema, is excellent as Carlo's glamorous mother.If you're paying close attention, the denouement will probably not be a great surprise but I think the key to the mystery is easily missed, as much by the casual viewer as by the character, Marcus. In the end, "Deep Red" is a really good mystery that gets a little messy and needlessly confusing but pulls itself together to provide a scary and gruesome (if abrupt) conclusion. A great giallo and a must for anyone's film collection.

Deep Red ,(aka Profondo Rosso,the Hatchet Murders). Review of Arrow video 2disc DVD from 2010 + Bluray & other editionsOn Arrows 2disc edition ,Disc1 has the longer Argentos' 'directors choice' version(originally just shown in Italian cinemas)-with options for Italian or English audio (with optional English subtitles). As with previous editions if you wish to watch with English audio this extended version has sections that weren't dubbed into English ,so these return to Italian with English subtitles .The print is excellent and the Italian comes in 5.1 & 2 channel audio ,the English language audio in 2 channel .On this disc is a very good commentary by Thomas Rostock that is packed with opinions & astute observations + U.S. & Italian trailers (the Italian being a study in unnerving style), also included is a 19 min chat with Daria Nicolodi ,co-star & former partner of Dario Argento who has his own(13min) feature. It's interesting to see how they view Deep Red & other films they've worked on and what they agree(and disagree) on .These mini docs feature well presented scenes from relevant films .To finish ,a 14 min feature with a pleasant Claudio Simonetti of the group Goblin(s) who provide the stunning & original score,(George Gasilini also scores some scenes) that's as vital to the films mood & pacing as the editing & cinematography.Disc2 features the 'international print', at around 100 mins it's some 20mins shorter than Argentos' cut. I think this is a tighter & stronger version of the film with more tension & mostly losing just some 'humorous' set pieces, some non essential lines & an earlier introduction to the likeable main actor played by David Hemmings.This version is in English (with optional English subtitles) in stereo ,the print quality is good. Disc2 also has(yet another!) extended promotional for the Profondo Rosso shop in Rome with an enthusiastic Luigi Cozzi (director of 'Contamination',a rather odd addition to the original DPP banned list).Like many people I prefer films where the languages spoken actually match the 'real' languages the characters would use, but I find this film (like most of Argento's) doesn't suffer if you choose the 'English option'.The films are presented in '2.35:1 anamorphic:Techniscope' (a filming process used by Sergio Leone & in many other Italian productions).Thie 'limited edition' DVD/bluray package comes with a 2 sided poster(with an original & new image), a short but interesting booklet by Alan Jones(author of 'Profondo Argento') and a reversible sleeve with choice of 4 covers & a slipcase.So some decent extras to go with possibly the high point of the Gialli & Dario Argentos' career ,but a shame that a film of this quality, that's far beyond 'cult curiosity' that Arrow haven't made an ultimate documentary about its place in the horror/mystery pantheon and beyond. In comparison,for example with the thorough job they did on Lucio Fulcis 2disc 'City of the living dead'. (The recent rereleases of Argentos 'Tenebrae', 'Crystal plumage' & others have much more in-depth features).Of the various other editions,the more recent 'red cover' Arrow 1disc editions in bluray & DVD have the film in its longer Version.The 'yellow cover' Arrow 1disc DVD appears to have the shorter 'international print' .And there is a 3disc 'limited edition' bluray/DVD/CD with the soundtrack,postcards & other extras. The Arrow Bluray 2disc has all the above & the Blue Underground Bluray 1disc has both versions of the film,with different extras (but not Rostocks commentary),and there are other versions available out there. If you haven't seen this film ,I would urge you to - you don't have to know what a Giallo is or know a Martini from Sergio Martino...This is a very good film available at good prices if you look around, & I don't think you'll be disappointed.Though I would say if possible get the two disc or Bluray with the Thomas Rostock commentary(only available on the longer film).If you just get one version of the film I would recommend the shorter(around 100mins) 'international print'......

A musician witnesses the brutal murder of a famous psychic, he then along with a reporter tries to find the killer whilst evading attempts on there lives by a black glove wearing killer.Arguably one of if not the best of Dario Argento's giallo movies. Containing some of Argento's best work including some spectacular death sequences, Macha Meril's exit is brilliantly shot and handled with an enjoyably bloody conclusion, in fact all of the killings/violence are painfully well staged and each adds to the atmosphere & hugely enjoyable. The creepy atmosphere is also helped along by some very disturbing doll scenes appearing in different shots giving the audience a frequent fright, as does the excellent Goblin soundtrack with its child like qualities in sharp contrast to what we are seeing on screen. The last third of the film is excellent with all sorts happening and the mystery holds up right to the end which the viewer will love. Hemmings , Lavia & Nicolodi are very good in the lead roles as are the supporting cast, dubbing is OK though not as good as most other Argento pictures it is fine and doesn't detract from the film. The only real weakness is some of the pacing, though its not bad and the film is never boring the first half does meander a bit, with Nicolodi & Hemmings chats and actions meaning very little and going on a bit too long killing some of the tension that's been building up.I cant believe I'm saying this (uncut versions of films I would always implore people to view) some of the cut versions, like the original UK pre cert VHS from Fletcher/Techmo, do remove some of the before mentioned waffle and do feel noticeably more pacey and hold more of the increasing tension (apologies to the uncensorious among you).Definitely one of the very best giallo's, very well done in all departments and a highlight in Argento's filmography. Never released theatrically here in Britain the first release on VHS was targeted as seizeable under the section 3 list but sense has since come around and whichever version you watch you will have an excellent viewing experience.

An almost perfect thriller where horror is just what comes out of the director mind and the atmosphere of the story. Not like they do now, where they do not have enough patience and ability to build up tension and need to scare you every ten seconds.Probably Argento's best film (although 4 Flies and Suspiria are almost equally great), it projects you in a cinematographic dimension where you enjoy the pure cinematic energy of the director and the mysterious effect that he manages to convey to your mind through a totally personal use of music, photography, editing and scene and shot construction. Images seem like coming from a painting and coming to life (or death).The HD transfer is fantastic.My only bad note is about the music (not the carillon, which is brilliant): although being celebrated, Goblin music is too cheesy and disco-funky-progressive and tend to be overwhelming, often spoiling the suspended and nightmarish atmosphere of a scene. And this is Argento's fault, who has always been an instinctive director, sometimes not reflecting too much (for good and for bad) on what he was doing.A film that has inspired so many authors and magically creates a town that does not exist (shot half in rome and half in Torin): the choice of setting and locations was one of Argento's main qualities in his early films (also his best ones)

Dario Argent's Deep Red is a much debated horror film. Some feel that the ending was not up to par with the whole story. I enjoy the movie as a whole and will say that the ending is not the best but I have seen worse.The film was at a turning point for Argento as soon his movies would start to lose their edginess and would not have the vision and the writing would begin to pale when compared to earlier films.But this film is a nice way to get some Italian Gaillo thrills. I recommend it!

A woman who can see into peoples thoughts holds a seminar where she sees the thoughts of a perverted psychopathic murderer. Helga Ullman (The psychic woman) is soon visited by the murderer, who attacks her with a meat cleaver.A pianist named Marcus Daly is walking to his flat when he suddenly witnesses the pshychic crashing her head through a window. He rushes to rescue her but is too late. Marcus wants to solve the murder(s)but soon realises that it might cost him his life. The movie is very intense mostly but has still some comedic scenes also. There's a lot of atmosphere and to me, this is Argento's best written film. Now for the product: It's 1 disc only. Sad because Arrow usually releases 2-3 disc editions. But it's still an awesome release. Highly recommended!