An English pianist living in Rome witnesses the brutal murder of his neighbor, a psychic. With the help of a tenacious young reporter he tries to discover the killer using very unconventional methods, and the two are soon drawn into a shocking web of dementia, savagery and violence.
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One of Argento's most remarkable films. The work with the colours, light and shadows is incredible, the camera movements around people and through corridors, but also the change of perspectives (together with the importance of views) and the close-ups on small things (e.g. toys or the fingers playing on the piano keys) are stunning - like the use of sounds and different kinds of music.
Argento (once again) contemplates the relationship between the film and the viewer. The image - which holds the secret to the mystery - is innately misleading. As usual, the audience, placing themselves above the work, are sure of what they've seen. But every image requires a context and interpretation. The character - like the audience - must think very carefully about what he saw to decipher the true meaning...
'14 restoration Incredibly stylistic but narratively challenged giallo from horror master Argento. Visually the film is truly stunning with its use of colour, editing techniques and camera movement. The story however and its eventual silly conclusion are quite wanting.
Style over substance? True... but it does still have substance. Argento just doesn't announce it. Scenes like the arm wrestling scene and Hemming's interactions with his drunk/closeted pianist friend tell us a great deal about these characters. Deep Red is also rooted in the revenge tragedy plays of old literature. Just here, mental breakdowns and unjustified revenge are instigated by already-broken minds.
Although it's probably churlish to suggest, but this film would benefit from editing down solely to it's half-dozen surges of Grand Guignol horror as there is little else besides the undoubted visual flair to sustain two hours, certainly not the wooden marionette-like characterisation, incongruous rock music score or plot schisms. However I suppose the door into this film is clearly labelled...
Le style Argento est brillant, une sorte de pré-De Palma. Dans version "anglaise", HEMMINGS parle tour à tour anglais et italien, très bizarre .... La musique composée par Goblin reste captivante. The Argento style is brilliant, a kind of pre-De Palma. In the English version, HEMMINGS speaks English + Italian, and this makes it strange. Music composed by Goblin still very thrilling.
Don't settle for youtube, director's cut only. David Hemmings solves a mystery via the unleashing of images?! I'm sorry if you're not a fan of BLOW-UP, but this can't not be an homage to that scene (I know, I just recently mentioned that scene, it's brilliant). Then De Palma, obvious BLOW master, licks this like an ice cream cone for the likes of Dressed to Kill, etc. References aside, IMO, Argento's masterpiece.
Visually sumptuous, masterfully suspenseful, and superbly atmospheric. This is one of the best horror movies I've ever seen, and my first Argento (though it won't be the last). The soundtrack is great too and totally fits the film.