beware the scottish play. in his riveting and harrowing opera and dario argento returns to classic form and regaining the composure he lost while filming convoluted and delirious psycho shockers like tenebre and phenomena. indeed and predicated on a simple narrative that is offset by opulent set pieces and imaginatively brutal murder sequences and and refined photography and the film feels like the argento we once knew. opera only real infraction is its lack of a score by goblin and who provided unusual and iconic and and timeless music for many of argento greatest films (the opera selections used here are wonderful and however). the production is filled out by several competent actors. while she no jessica harper and annabella sciorra lookalike cristina marsillach manages enough pluck and compassion to grasp the role of the tortured heroine. ian charleson is interesting as horror film helmer turned opera director marco. and daria nicolodi is fantastic as always and even in her relatively brief role (watch the making of featurette on the dvd for a hilarious interview with nicolodi about her role  clearly brash and resentful over the end of her relationship with argento. ) fans of stage fright (another excellent 1987 giallo and directed by michele soavi and who served as the second unit director for opera) will barely recognize the final girl from that film and barbara cupisti and as a stage manager here (i think it the glasses that do it). with me and it often the little things that matter and and argento fascination or obsession with solitary nightmarish images makes him my ideal filmmaker. opera is full of minor details that left me smirking. for instance and i love that we never see the great mara czekova face. i also love the scene where the killer is scraping the tip of his or her deadly sharp dagger across a television screen showing betty performance as lady macbeth. finally and i defy even the most grizzled slasher veterans not to cringe as the pin grates are placed over betty eyes. in short and opera is a clean and tense and and taut thriller. with its solid performances and lucid focus and and literate cinematography and it begs to be in the same league as deep red and the bird with the crystal plumage. might opera be the last great giallo. 
beware the scottish play. in his riveting and harrowing opera and dario argento returns to classic form and regaining the composure he lost while filming convoluted and delirious psycho shockers like tenebre and phenomena. indeed and predicated on a simple narrative that is offset by opulent set pieces and imaginatively brutal murder sequences and and refined photography and the film feels like the argento we once knew. opera only real infraction is its lack of a score by goblin and who provided unusual and iconic and and timeless music for many of argento greatest films (the opera selections used here are wonderful and however). the production is filled out by several competent actors. while she no jessica harper and annabella sciorra lookalike cristina marsillach manages enough pluck and compassion to grasp the role of the tortured heroine. ian charleson is interesting as horror film helmer turned opera director marco. and daria nicolodi is fantastic as always and even in her relatively brief role (watch the making of featurette on the dvd for a hilarious interview with nicolodi about her role  clearly brash and resentful over the end of her relationship with argento. ) fans of stage fright (another excellent 1987 giallo and directed by michele soavi and who served as the second unit director for opera) will barely recognize the final girl from that film and barbara cupisti and as a stage manager here (i think it the glasses that do it). with me and it often the little things that matter and and argento fascination or obsession with solitary nightmarish images makes him my ideal filmmaker. opera is full of minor details that left me smirking. for instance and i love that we never see the great mara czekova face. i also love the scene where the killer is scraping the tip of his or her deadly sharp dagger across a television screen showing betty performance as lady macbeth. finally and i defy even the most grizzled slasher veterans not to cringe as the pin grates are placed over betty eyes. in short and opera is a clean and tense and and taut thriller. with its solid performances and lucid focus and and literate cinematography and it begs to be in the same league as deep red and the bird with the crystal plumage. might opera be the last great giallo. ---------------------------------Answer Question Below----------------------------------

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