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.
[Spoilers] Superbly OTT, a sort of style overload where the Steadycam is the star (to the extent of using point of view to give a sizeable early hint as to the identity of the killer). The downside is that the star is poorly characterised, coming across as a sociopath who is totally unconcerned with the gory deaths of a boyfriend and colleague in her presence, and no amount of lizard hugging can fix that. 3.5*
Possibly the worst lip synching I've ever seen. All the characters in this film are complete idiots, and the ending is even more incomprehensible than they are. And yet I enjoyed this more than Phenomena? It just looked so good, and I loved that truly ridiculous bird conceit, and the opera recordings used, and the leading lady's hair. Bite me, objective evaluation!
En "Ópera" , todos los tópicos efectistas y hasta truculentos del Giallo están más que presentes. A su absurdo guión le salva un poco el hecho de que Darío Argento tiene un modo de hacer muy eficaz e imaginativo a su manera. Con sus altibajos narrativos, su floja interpretación (¡ay! mi querida Cristina Marsillach) y su increíble desarrollo y resolución, la película se deja ver con más pena que gloria. Nota: 3
the movie has an astonishing camera work from Argento who keeps things fresh and stylish but the script is so bad that even an Argento-fanboy like me couldn't ignore the boredom that strikes the viewer after half an hour. It proves that Argento could shot a painted wall drying and still make things beautiful.
Usual mix of horror and sadism that provides one of Argento's mid period best films. Marsillach makes quite the victim here and the novel evolution of 'eyes wide open' here makes for a terrifying image. What I admire about Argento's work is the artistry of camera movement and image in what always appears to be medium budget restraints. Excellent score that adds to the experience.