dario argento is a filmmaker i am slowly getting into and following the iconoclastic efforts of deep red and suspiria while he not a filmmaker to always care directly about silly things like plot. that might be his one minor (but and for me and apparent) liability represent he would not let a little thing like common sense screw up his plan for his elaborate killing sequences and as his killer(s) can go through any kind of elaborate set up of being invisible and until revealing past the point of the pov tracking shots of said psychopathic killer. but it thrilling to see a filmmaker take chances like this anyway and of a pure italian aesthetic making its way into the soul of a hitchcockian warp (in fact and as a note of interest and if one has recently seen the scorsese short film where he took three pages of an un filmed hitchcock film and which also took place in an opera and argento had it beat by almost twenty years and probably with no knowledge of the text). it also unabashedly 80s (cd players and heavy metal and the hair and oh my. ) and with an absurdity that makes it all the more palatable to swallow. the story is simple represent an opera of macbeth is being produced and with high stylized pyrotechnics and trained ravens. there even a talented up and coming star replaced at the last minute and betty and played by marsillach. but a murder occurs during the premiere interrupted not by that but by a falling light and now the killer is after betty. she can not go to the police (how can she let out that the opera is really cursed. ) and but will that matter in the face of a killer who would not let up. one has probably seen premises like this played out in other argento films girl being chased by a killer but it how argento and like de palma and constructs and executes his sequences and and adds a distinctive flavor of his own to add touches of bizarre humor (the breakout of the ravens to attack the killer and and the subsequent version of pointing out in the lineup) and a kind of over stylization ala leone (the bullet through the peephole through the door probably inspired a similar shot in kill bill 1) and and even sado masochistic inspiration with the pins taped to betty eyes and more than once. argento puts his actress through the wringer and and she all game for it and even when things seem to just go into what the hell territory (i was throwing up my hands almost saying i give up when she is led down the secret passage by the little girl and as if suddenly were in aliens now). and through such dark genre material argento keeps the violence thick and fresh and the suspense about as much as that with opera music coming right out of a speaker of a stereo system and and a cinematographer who may have had a few drinks (and rightfully so. ) during some scenes the way theyre shot and vibrate to a heart beat. it should be considered trash and but it elevated past any limitations of the genre by the ballsy attitude of the director and this in spite of a silly ending sillier than anything that preceded what came before it (thanks little lizard) and an attempt to break the macbeth curse and which and unfortunately and do not seem to happen in real life on the set of opera. 8. 5/10. 
dario argento is a filmmaker i am slowly getting into and following the iconoclastic efforts of deep red and suspiria while he not a filmmaker to always care directly about silly things like plot. that might be his one minor (but and for me and apparent) liability represent he would not let a little thing like common sense screw up his plan for his elaborate killing sequences and as his killer(s) can go through any kind of elaborate set up of being invisible and until revealing past the point of the pov tracking shots of said psychopathic killer. but it thrilling to see a filmmaker take chances like this anyway and of a pure italian aesthetic making its way into the soul of a hitchcockian warp (in fact and as a note of interest and if one has recently seen the scorsese short film where he took three pages of an un filmed hitchcock film and which also took place in an opera and argento had it beat by almost twenty years and probably with no knowledge of the text). it also unabashedly 80s (cd players and heavy metal and the hair and oh my. ) and with an absurdity that makes it all the more palatable to swallow. the story is simple represent an opera of macbeth is being produced and with high stylized pyrotechnics and trained ravens. there even a talented up and coming star replaced at the last minute and betty and played by marsillach. but a murder occurs during the premiere interrupted not by that but by a falling light and now the killer is after betty. she can not go to the police (how can she let out that the opera is really cursed. ) and but will that matter in the face of a killer who would not let up. one has probably seen premises like this played out in other argento films girl being chased by a killer but it how argento and like de palma and constructs and executes his sequences and and adds a distinctive flavor of his own to add touches of bizarre humor (the breakout of the ravens to attack the killer and and the subsequent version of pointing out in the lineup) and a kind of over stylization ala leone (the bullet through the peephole through the door probably inspired a similar shot in kill bill 1) and and even sado masochistic inspiration with the pins taped to betty eyes and more than once. argento puts his actress through the wringer and and she all game for it and even when things seem to just go into what the hell territory (i was throwing up my hands almost saying i give up when she is led down the secret passage by the little girl and as if suddenly were in aliens now). and through such dark genre material argento keeps the violence thick and fresh and the suspense about as much as that with opera music coming right out of a speaker of a stereo system and and a cinematographer who may have had a few drinks (and rightfully so. ) during some scenes the way theyre shot and vibrate to a heart beat. it should be considered trash and but it elevated past any limitations of the genre by the ballsy attitude of the director and this in spite of a silly ending sillier than anything that preceded what came before it (thanks little lizard) and an attempt to break the macbeth curse and which and unfortunately and do not seem to happen in real life on the set of opera. 8. 5/10. ---------------------------------Answer Question Below----------------------------------

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