6 - Argento with a budget is a sight to behold, but I would be lying through my teeth if I omitted my disappointment at the man's insistence on re-treading infecund, old narrative ground after so brilliantly subverting himself with "Tenebrae". The final act's laughable excesses already started peeling back the curtain on the Argento of today.
I am a genre lover, Especially Giallo Cinema. Argento's Opera colour is rich, as its interiors, the influence of D.W. Griffith sheer scale to a production is key. The murders, psychologically draining, as this film focuses more on torture rather than murder. Candy apple crimson red blood and a metallic gradient of blades flood the screen, complete with the signature black leather gloves. What else do you need?
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!!!
[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.