Deep Red

Posted on , under Slasher and Giallo

Deep Red movie

Year: 1975

Duration: 2:06:43

Directed by: Dario Argento

Actors: David Hemmings, Daria Nicolodi, Gabriele Lavia

Language: English dubbed

Country: Italy

Also known as: Profondo rosso, Rojo profundo, Deep Red

Description: Beautiful cinematography from Luigi Kuveiller and a haunting score by the Goblin (perhaps their best) under the direction of Dario Argento make this a giallo of the highest order. While the bodycount is kept minimum, Argento makes every death scene count. The mystery unravels slowly leaving you biting your nails at the edge of your seat. The suspense is there until the very bloody end.

I don’t have much to add to this film’s reputation: it’s the best known giallo there is and one of the best. It’s also considered to be Dario Argento’s masterwork with Cat o’ Nine Tails. Haunting score by Goblin and beautiful cinematography by Luigi Kuveiller set the tone for this operatic dance of light and shadow, and violence! A must-see film for any film buff who’s interested in the giallo subgenre

Plot of Deep Red: During a lecture at the Congress of Parapsychology a woman, who was lectiring and guessing the names of those present in the hall, and that was in their bags, suddenly huddled in a fit, claiming that the Death is somethere here, she sees a terrible murder in the villa that she could hear children’s song. And the same night, she was brutally stabbed with a huge hatchet by a man in the cloak, which saw a jazz pianist. Involuntarily pianist drawn into this story and begins his own investigation.

Review: Gorgeous, elegant, Jalloh master Dario Argento, worthy of all sorts of accolades and awards. Never before and never after Argento has not climbed to such a height, even in the best of his films “The Bird with the crystal plumage”, “Suspiriya”, “Phenomenon”. Filmed them at the age of Christ, the film is a creative competition with a brilliant philosophical picture of Michelangelo Antonioni’s “Blow,” and is taken from David Hemmings. Here he plays too creative person, not a photographer, and pianist, who witnessed the brutal murder of a female telepath. Law wife and muse Argento Darius Nikolodi clearly needed here because of the resemblance with Antonioni muse – Monica Vitti (although in fairness it must be said that the role of an eccentric journalist belongs to her undoubted acting successes).

Mark, an intellectual, a brilliant pianist, seeks to recall what he allegedly saw when I first came to the apartment of the victim. Only instead antonionievskoy puzzle “was a dead body?” Argento gives us his “whether the picture? ‘. Here is the film it looks like a painting by expressionist, where the whole plot moves around so powerfully looped in the final, proving once again that it is not really all that it seems.

“Deep Red” is valuable not only because it is a key painting in the work of Argento, from which, like a wave from the stone thrown into water, disperse the rest. It is also a key work in the history of Jalloh, an Italian sub-genre, which happily joined the detective film noir and horror esthetic. Open once Mario Bava, Jalloh, like a blood-red flower, blossomed in the Italian horror, becoming an integral part of it. And almost no one knew how to shoot Jalloh as did Dario Argento. In his work Jalloh connected with the tale, bringing the subjects of his films constantly teetering on the precarious line between reality and appearance. Mastery of suspense, cinematic technique (as beautiful as the poetic, is worthy of serenades and praises subjective camera (first person view), made by endoscopic cameras in the “blood-red”), a special gift in aesthetization nightmare where even massacres furnished as surreal dreams of a second film avant-guard (compare with “Andalusian dog” Luis Buñuel) – all this makes Argento quite unique master of horror.

All features creative manner Argento in concentrated form presented in the “Profondo rosso”, even arch eccentric humor, almost to the point of farce, highlighting a sense of waking dreams. And contrary to many other Jalloh, slasher, and just detectives, where the identity of the maniac is carefully hidden from the viewer, in the “Profondo rosso” you can see the killer in the beginning. However, the viewer, like the main character, does not see what is in front of him, focusing not on the top, and on minor things. As a result of the appearance of reality is accepted, and the investigation started from a point A, through a number of intermediate points, leads back to point A, therefore, only proving that truth is accessible only to the one who is able to see things, not the essence.

And, perhaps, this is the only Argento Jalloh, where he rose to the whole philosophical ideas about the relationship of the subject and reflection. And it’s hard not to remember here, along with Antonioni, yet brilliant philosopher Ingmar Bergman. We see the world as in a mirror, not face to face. The truth is approaching, it slips away (that means the name of the movie and Antonioni’s “Blow”), but it has always been with us.

The painting “Deep Red” filmed in 1975 by the famous Italian film director and screenwriter Dario Argento. “Profondo rosso” – a true classic horror-giallo, made spectacular, stylish and beautiful. More than two-hour narrative keeps the tension from beginning to end, playing all the inherent dzhiallo genre shades, because in front of us and a detective with the thought down to the smallest detail intrigue, for the identity of the killer until the very end the audience will not know, and the director of the film masterfully scatter the elements of the puzzle in front of us with horror and thriller elements, flavored with a suffocating atmosphere and spectacular scenes of stylized violence, taken by the operator Luigi Kuveylerom in so recognizable, “ardzhentovskom” style. However, the camera work in this band can boast of the presence and effect prisutstviyai smoldering intimacy, voyeurism. If the viewer gets along with the characters in the hidden nooks and crannies, feeling implicated in the events taking place. Skillful same game color schemes make the picture perfect and complete visually hidden in her film language of metaphors.

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