Amazon.com

Considered by many to be Dario Argento's first masterpiece, Deep Red recalls his first hit, The Bird with the Crystal Plumage. British star David Hemmings (Blow-Up) plays an American jazz pianist who witnesses a brutal, bloody murder from afar and turns detective to find the killer. Kooky Italian journalist Daria Nicolodi (Argento's wife and cowriter on Suspiria) joins him as comic relief and tepid romantic interest, but the real costar is Argento's high style: gliding camera, razor-sharp editing, and gorgeous but gruesome set pieces. The story is convoluted, to say the least--plotting was never Argento's strong suit and the unnecessary exposition often drags the film down--but his vivid, horrific imagery is perfect for a thriller driven by haunting memories. Deep Red was originally released in the U.S. in a severely cut version retitled The Hatchet Murders (odd since the killer uses a butcher's knife). Producer Bill Lustig has restored the film to its originaltwo-hour-plus running time, though some scenes exist only with Italian-language soundtracks (which are subtitled). It's a bit jarring at first (it makes for an unintended joke when a man suddenly checks his hearing aid after a language switch), but it's the only way to see Argento's original cut. There's also a brief 25th anniversary documentary with Argento and cowriter Bernardino Zapponi, and the DVD offers a choice of English and Italian language versions. --Sean Axmaker ... Read more

Reviews (84)

Scary, Stylish, Superb
A title that cannot miss in your Italian thriller collection! A movie that cannot be left unseen. A soundtrack that whips your spine cord. The ultimate masterpiece of Argento is a mixture of gore effects (last Italian work by Carlo "ET" Rambaldi), bedtime lullabies, screaming queens, supernatural atmosphere and memory games, supported by a perfect plot and a series of great Italian theatre actors whose only function in this film is to be killed in sequence, in a crescendo of ultraviolence.
The DVD edition of PROFONDO ROSSO is presented in widescreen 2.35:1 enhanced for 16x9 TVs, giving the audience all but the impression of a movie directed 27 years ago. The audio tracks are in Dolby Sorround 5.1, in Italian and in English, but portions of the English soundtrack were either never recorded or lost. These scenes are therefore presented in Italian with optional English subtitles. The extra features show the Italian and U.S. theatrical trailer and a featurette, 25th Anniversary, with an interview with director Dario Argento, writer Dardano Sacchetti and the Goblin, the group responsible for the nightmarish soundtrack which is part of the worldwide success of Argento's movie. Watch it alone, in the dark...

A Deep Pool of Red
Deep Red is a classic Italian suspense tale involving a witness overseeing a murder, rushing to the scene of the crime to help, and then finding himself ensnared in Argento's classical psychological/some physical torment web that engulfs both himself and the killer. There are a lot of layers circulating throughout the movie, giving it depth beyond the normal genre "slasher" flick. That said, its also one of the more gruesome films that Dario directed. With killings involving cleavers, oddly conceived decapitations, and other unique methods of murder that I won't mention for fear of spoiling them, it manages to keep the gore lover's attention without insulting them.
With film restoration adding to the movie, you are given a clearer overall picture of what Argento wanted to present as well, despite language switches causing the need for subtitles throughout the movie. (And, if you have the chance, pick it up in the Dario Argento Collection set. Its a fine deal for Tenebrae and Deep Red.)

Horrible
The movie is long and slow. The uncut version is about 2 hours. The music sounds like it came from a 70s porn movie. The only good part were the original murders.

A remarkable Argento classic
To make this review shorter, I won't go on about the plot or the plot twists and the characters and such. I'll just say that this easily ranks amongst the top 10 Argento films ever. What I really like about Deep Red is that unlike some of Dario Argento's other movies (like Stendhal Syndrome), the ending was completely unexpected and nobody expected it. That plot-twist was brilliant and very well concealed. Anywhom, this is an incredible giallo. For the starting Argento fan, I'd reccomend this, his first film "The Bird with the Crystal Plumage", "Tenebre". I ABSOLUTELY DO NOT RECOMMEND "Suspiria", IT IS NOTHING LIKE ARGENTO'S OTHER WORK, AND IS DEFINATELY NOT AS GOOD.

Uh...strange!
When a psychic mind reader picks up on the thoughts of a murderer, little did he know that he'd soon become a victim! An english pianist gets involved in solving the murders, but finds many of his avenues of inquiry cut off by new murders, and he begins to wonder how the murderer can track his movements so closely... ... Read more

Reviews (261)

Stylish, beautiful, and mesmerising
I first saw Suspiria a few years ago as a VHS rental but I couldn't remember too much about it. But suddenly, the world of Italian horror has been broken wide open so I picked up this three disk limited edition. Watching Suspiria is sort of like dreaming awake. Colored lighting is used to great effect and the sound track just sort of lulls one into submission. The plot makes about as much sense as a dream, that is to say, the movie all makes sense while watching but looses cohesion quickly once one returns to the "real" world. I think that is why I only remember watching the VHS rental but not too much of the movie.

The three disc set includes a newly made documentary and a Goblin soundtrack from the movie. The documentary suffers from subtitles that are sometimes washed out against a light background. Otherwise, it is informative. The Goblin CD is a lot fun to listen to and I find myself humming the main theme all the time. Unfortunately, I do not find a listing for the names of the songs. The main disk also includes trailers and radio spots and a Goblin music video of Demonia, which appears to be the main theme song.

Terrific DVD for a terrific movie
What many claim is the definitive Dario Argento movie(some say "Deep Red" but I say this), has been put into a wonderful DVD. I waited for weeks for the limited edition. It was well worth the wait. The limited edition throws in everything, but the kitchen sink. While the laserdisc was in letterbox, the colors were washed out. Pity too, since that was they used a technique which enhanced the colors into a deeper, richer texture (in letterbox to show the entire picture). Thankfully, the DVD lets us see this wonderful enhancement beautifully. On the second disc, we see interviews with the filmakers and stars of the film. We also get a bit of a hint why we still haven't seen the conclusion of "Three Mothers" Trilogy. It also has an interesting interview of the composer of the bizarre music to the movie. The third disc is a CD soundtrack to the movie, which contains a terrific updated version of the theme song (a music video of the song is in the first disc). All in all, an excellent DVD set. Bravo to Anchor Bay!

"SUSPIRIA"-Dario Argento's stylishly artistic masterpiece!
Okay, to all those fans of the Italian horror genre (or 'giallo' films as some would call them) I'd like to say that I am a longtime fan of horror movies and am also new to the Italian horror genre. I'd have to say as strange as it is, "Suspiria" (1977) was actually the first one to get me into the Italian horror films. Considering that I personally do NOT like any of Lucio Fulci's work (e.g. "Zombie") Dario Argento is quite better and the atmosphere of his movies are a lot better to draw you into.

Jessica Harper (a very talented actress indeed!) plays the heroine, Suzy Banyon, a young female American ballet dancer who attends a German dance school run by the mysterious Madame Blanc and Miss Tannr (given eerily performances by Joan Bennett & Alida Valli) From there, all hell breaks loose as horrific "accidental" deaths occur as many individuals are picked off one by one by an unseen supernatural entity. There are numerous secret passageways in the school (my favorite being the rose painting on the wall), a cruel and sharply grotesque hanging scene, a flesh eating dog, & many other shocking surprises which await as Suzy must discover the school's true revelation before it's too late!

This 3 disk set is in its WIDESCREEN Presentation(2.35:1) & is enhanced for 16x9 T.V. sets. It also includes the theatrical trailer (including T.V. spots), radio spots, a Daemonia music video, poster and still galleries, and talent bios. The third disk is the soundtrack of the film performed by the Italian rock group, Goblin and is definately one of the creepiest scores I've ever heard in a film. (Though maybe not as scary as Godfrey Salmon's orchestrated and conducted score for the sequel, "Inferno")

It's also one of those rare items which requires you to think, but keep in mind that sometimes it may take more than just one viewing to understand it all. The Dance Academy is also the most beautifully, artistic movie sets to ever be used for a horror flick (but in a grotesque and fun way) Without doubt, this is one of Dario Argento's BEST work! (I haven't seen his first masterpiece, "Deep Red" yet) In fact, as he explained in an interview for "Inferno" this, along with that film was one of the hardest films to make in his career and required A LOT of his own imagination and style. I recommend this to those who don't prefer Lucio Fulci's work and I also recommend the sequel, "Inferno". (it carries some of the same resemblance to the first film but the storyline starts to come together more in that one) Truly, this is a non-stop nightmare into the terrifying unknown! I will most definately be checking out the rest of Mr. Argento's work.

Kcin's review of Suspiria
I suck at introductions so I'm not even gonna try. This movie is very good. I like it. If you are interested in Horror cinema or just visually intriguing films in general you need to check this out. All right then, on with the specifics.

The plot is easily summarized. Suzy Bannion is an American ballet student in Germany. There a bad goings-ons at the academy and she must investigate and defeat the evil to survive blah blah blah. None of that really matters. Even the staunchest defenders of this film often admit that the plot/script/dialogue are not particularly inspired, and frequently kinda lame. I tend to agree with this belief, but as I said before, it doesn't really matter. However, contrary to what many people say, I didn't find this film to be the least bit confusing. I'll admit that not necessarily everything that occurs makes a whole lot of sense, and that some things are shown which are not terribly vital to the plot, but it's hardly difficult to follow. The acting isn't so great either, with the protagonists coming off a bit flat much of the time, and the antagonists overdoing it, particularly the whacky Miss Tanner, whose got a weird female concentration camp commandant thing going on.(or maybe I'm thinking of Madame Blanc, I get the names confused. If you see it you'll know who I'm talking about.) Still, it's a masterpiece visually.

When people talk about this movie they almost invariably describe it as being nightmareish. I don't really care for this description, because it exaggerates the surreality of the film. Visually, it isn't hyper-abnormal, it's really just surreal enough to seem just beyond the bounds of reality, so that nothing in the film seems quite real. This is particularly effective in the Academy itself, which mixes stately, classical looking architecture with extremely garish and tacky, extremely 70s-ish decoration. The night/horror scenes are all the more effective, with natural coloring being essentially abandoned, with everything then being bathed in eerie colored lighting. The two most prominent colors are blue and red, with a smattering of green now and then. On the whole it is startlingly eerie, and can add immense power and atmosphere to scenes where essentially nothing happens. A good example of this comes when they are forced to sleep out in the ballroom due maggot infestation.(which is itself an example of a creepy thing that happens that has nothing to do with anything) Nothing really happens here, but it's bathed in an intense, absolutely hellish red light which gives it immense power. To accompany these visuals is the much-hyped score by Goblin. It is extremely effective, though occasionally weakened by the odd cheesy synth line. It's mostly eerie keyboard lines playing menacing, repetitious melodies, thunderous percussion and random, rumbling bass overlaid with demonic voices whispering and howling. It also gets points for sounding like actual music, rather than the auditory exclamation points that most horror films provide you with. Despite all this, this movie isn't all that scary, but it's pretty eerie and atmospheric, and is just damn cool.

The film suffers slightly from starting off too well, so it's unable to maintain it's level of excellence, and suffers from a rather anti-climatic ending. Still, the opening scenes of the film are absolutely great. Suzy's arrival in Germany during a fierce storm sets the tone for the film, and establishes most of the visual motifs. It is perhaps the most surreal portion of the movie, with the heavy rain obscuring most everything, and particularly random seeming uses of lighting.(The weird forest they pass through is especially cool) The first murder scene, which is early in the film, is easily the best of the horror set-pieces. Although it isn't really all that gory it's a truly brutal scene and ends with some genuinely horrific imagery.(I'll admit that the effects are dated, but they still work very well in this scene, imo) The other horror scenes are reminiscent of the first, indoors, with the use of phony looking set decoration and colored lighting, with one exception. It takes place out in the open, and the normal colors are abandoned, instead opting for utter blackness and plain white and grey coloring on the surrounding, neo-classical architecture. It's also got some great, Leone-esque staging and camera work, as it drags the scene out as long as dramatically possible, alternating between extreme long-shots and extreme close-ups. It's a great scene (other than some dated gore) which is made all the more effective by how it contrasts with the rest of the film.(I should mention that despite the supernatural trappings of the film, the killings are generally done manually, with slasher-esque staging and methods. This film has witches, but they ain't much like what you usually see.) As I said before, the ending isn't so great. It's a bit abrupt, and doesn't show us anything we haven't seen before, but just re-iterates old motifs in an inferior manner, and suffers from some bad acting on the part of the main antagonist.(Well, now that I think about it, it does have one great scare, which is unexpected and unlike what we've seen before, but overall it's just not nearly as good) Also, there's a scene with a bat which is unintentionally funny. That bat's just so damn adorable.

Well that's about it. Some flaws, but it's a horror masterpiece anyway.

The Look of Horror
I could of probably lived without 10 over-the-top seconds of "Suspiria." Those 10 seconds are graphic to the point of porn. No doubt Argento fans would say that such scenes are what make Argento Argento. Whatever. That said, this is a really good movie with a terrific look. Argento's use of colors and architecture to establish mood (dread) is simply astounding. I have to believe Kubrick borrowed from Argento, heavily, in his making of "The Shining." I almost didn't finish watching "Suspiria" due to a graphic murder in the beginning. What kept me hanging in there was the stylish way Argento was framing his scenes. Hairy and taloned arms appearing out of the dark, a haunting run through the woods, wild and/or garish art deco interiors that have you thinking Jack the Ripper picked out the colors and patterns, and a building that looks like it was designed in Hell.

The plot? It's ok. Not as weak as some have suggested, but it does have holes - holes you don't spend much time pondering, since it's your eyes and ears Argento is after. Acting? Almost seems beside the point. You have your various grotesque characters, some with very big teeth, doing evil things. Jessica Harper is, however, very good as the waif-like ballet student. Her physical slightness, her big eyes, all contribute to the impression that she is surrounded by monstrous horror. How will she escape? Watch and see. The soundtrack, especially if you have surround sound, is effective and eerie. Lots of evil whisperings and other ominous sounds jump from unexpected directions. So the makers of the dvd are also to be applauded. It's as crisp a picture as you can imagine. (Guess Argento wanted those "reds" to really show.) ... Read more

Amazon.com

Dario Argento's sequel to Suspiria, his first and to date only American hit, is an even more incoherent nightmare fantasy. Laden with symbolic imagery and fantastic explosions of death shot in candy-colored hues, it's a bloody feast for the eyes. Mark (Leigh McCloskey), an American music student in Rome, rushes home to New York after a frantic phone call from his sister only to find an empty apartment and obscure clues about a supernatural presence in her spooky building. It all has something to do with the mysterious Mater Tenebrarum, one of the "Three Mothers" of Argento's murky mythology, and the fun house of an apartment house she inhabits, complete with a fully furnished underwater ballroom, miles of secret tunnels flooded in red and blue light, and hidden passageways under the floorboards. Meanwhile, there's a killer running around stabbing beautiful women for who knows what reason, a crippled bookseller attacked by rats, and a homicidal hot-dog vendor in Central Park. Why? It's best not to ponder such mysteries--Argento obviously isn't as concerned with making sense of his meticulously staged murders as he is with lighting them with just the right hue. Dramatically it's inert, a parade of quirky but faceless victims dispatched with elaborate care, but it's beautifully designed and executed, a spectacle of elaborate set pieces and magnificent decor orchestrated with a complete disdain for narrative logic.--Sean Axmaker ... Read more

Reviews (40)

Dario throws a sharp dagger and misses
OK, nobody watches a Dario Argento movie expecting a great plot. Its just the immense style and care he handles his movies with. So just about everyone can easily lose track of the plot and concentrate on the gracefully-staged killings and highly original (sometimes outragous) story elements. The problem with INFERNO is that (despite the fact it has some nice Argento touches, some great scenes involving an underwater chamber and an old man getting eaten by an army of rats), the plot is so thin that in this case you tend to somewhat ignore SOME of the Argento trademarks and start wondering what the hell is going on!

An American music fan returns home from Rome after getting an urgent call from his sister. By the time he returns, she's already dead so he handles the case himself finding the SUSPIRIA-type killer which somehow relates to an evil myth.

INFERNO isn't really such a bad film. With horror maestro, Mario Bava giving it his last shot with the special effects (he died the same year), the film has some kind of punch and, though it is fairly slow, it feasts the eyes with some nice imagery but as I said, it just DOSN'T MAKE SENSE. Argento helped Bava's son, Lamberto on DEMONS five years later which I found a little bit more fun.

More Supernatural Mayhem From Argento
Dario Argento's INFERNO, the sequel to the great SUSPIRIA, is the director's most difficult film; it was hard for him to pull this one off and it took a lot of time. In the end, however, it was all well worth the effort. INFERNO establishes its link to SUSPIRIA in the beginning, as Rose Elliot (Irene Miracle of MIDNIGHT EXPRESS fame) reads the book "The Three Mothers" by one E. Varelli, an architect and alchemist who built three houses for the Three Mothers, who are really evil beings who rule the world through sorrows, darkness and tears. Rose, in fact, might live in one of those dwelling places, a hotel in New York, which is the dwelling place of Mater Tenebrarum, Mother of Darkness. (SUSPIRIA covered Mater Suspiriorum, Mother of Sighs/Sorrows.) Anyway, her brother Mark (Leigh McCloskey) comes to New York and gets caught up in the weirdness that ensues.
As I said before, Dario Argento had a real difficult time filming INFERNO. He bypassed the witchcraft of SUSPIRIA in favor of alchemy for this story. Fortunately, he had help from another Italian horror legend: Mario Bava (TWITCH OF THE DEATH NERVE, BLACK SUNDAY, SHOCK), who filmed an amazing underwater sequence in the beginning which is a sight to behold and is really scary. Some think that the music student with the cat (Ania Pieroni of TENEBRE and Fulci's HOUSE BY THE CEMETERY) in the scenes in Rome is a representation of Mater Lacrimaurum, Mother of Tears; if that's so, what a great setup for the third film that would have been. While not as mind-blowing as SUSPIRIA, INFERNO is a wild experience in its own right and has an equally awesome music score (here by prog-rock vet Keith Emerson) and scary imagery and lighting reminiscent of an EC Comic book.
BTW: Have you noticed any similarity between this and Fulci's masterpiece THE BEYOND? I mean there's the house that maybe concealing some sort of evil, there's the gruesome murders at random, and there's the awesome score! Anyway, you have to see THE BEYOND, and I'll explain why in another review. But give INFERNO, Argento's purest film, a try but watch SUSPIRIA first so you'll understand this movie better!

Sequel to "SUSPIRIA"...
This 1980 Italian horror hit by Dario Argento is one of his finest since its previous installment, "Suspiria" and carries some of the same resemblance of that film with its beautifully artistic atmosphere and it's stylishy grotesque layout. However, the plotholes that were of the first film start to come together a little more in this one and is easier to understand. It is also the second part to the still incomplete 'Three Mothers' trilogy and will keep you at the edge of your seat. I don't think I've watched too many of these films that actually makes me jump at certain scenes, whether its a falling vase or just a plain old stray cat.

When a young man's sister, Rose disappears after opening a mysterious diary known as "The Three Sisters", her brother, Mark (acted well by Leigh McCloskey) must investigate her old apartment complex that she lives in which also used to be an old mansion used by an old alchemist who created the three homes where each of the sister's ghosts take refuge. All this leads to an scary adventure through the many secret passageways of the old estate, complete with an underwater ball room, a mute old man who's always watching our hero, & a killer that lurks around every corner for those who learn more about the second mother: the Mother of Darkness. In the end, Mark must stop the evil presence before all hell breaks loose out into the world! It's a terriying trip into the unknown and will leave you breathless till the last thrilling scene!

The movie is in its WIDESCREEN Presentation (1.85:1) & is enhanced for 16x9 T.V. sets and includes an Exclusive Dario Argento interview, the original theatrical trailer, a still gallery, and talent bios. I only wish they had the soundtrack for this film which features an excellent orchestrated score by Godfrey Salmon that has a little more effect than that of Goblin.

The film is also in its original UNCUT & UNCENSORED version and gives you more than what may've been offered before. Dario Argento does it again in this worthy sequel! But I should warn you to NOT see this film without seeing "SUSPIRIA" first, otherwise you may not understand it as much. Otherwise, I say to all those either Dario Argento fans or plain Italian horror fans altogether to give this one a shot. "Inferno" is a great movie worth watching again and again. I only hope that Dario will complete the 'Three Mothers' trilogy one of these days. Please, Mr. Argento! It is a very good series!!

Good, but a few noticable flaws bring it down
I am a huge fan of Suspiria and Dario Argento so naturally after seeing Suspiria I rushed out and bought this. I knew this installment couldn't really match up to Suspiria but to tell you the truth I couldn't help but be a little dissapointed. Here are some of my likes/dislikes with the film.

LIKES:
Dario's direction and sense of style have not changed and the set pieces and shots in the film are top notch.

The kill count nearly doubles in this installment which leads to some very good moments, and some not as good. But nothing horrible (I mean you gotta love that hot dog vendor scene). And although the music may not be as creepy the suspense is still very much there.

The elaboration on the plot (although still a little confusing) is always nice.

DISLIKES:
The music bugged me a lot and is by far my number 1 compaint with this film and basically why I gave a 3 instead of a 4. This may seem trivial but the heart pumping masterwork in Suspiria gripped you and kept you on the edge of your seat for the rest of the film. The score in Inferno just fails to do this and is mostly just a soft piano score which loosens the tension and atmosphere for a lot of the film.

The only other thing that bugged me enough to mention was a few of the killings. I mean as I stated earlier I like most of them but they failed to match up to the grandiose masterpieces in Suspiria. More deaths are always good but it seems in some cases they exchanged quality for quantity. Moreover the back on the DVD says it's uncut but particularily in one of the scenes it fades out rather abruptly which bugged me because it was probably the best death in the film (I speaking of the window scene where Rose is killed).

OVERALL:
Despite a few areas most of the aspects of this movie are quite enjoyable and I highly reccomend this, especially to fans of Suspiria and Dario Argento.

The Funk Was Flamin' Outta Control
Argento's back in the house. This time it's a semi-sequel to Suspiria. Argento's trademarks are all back in full swing: Fantastically orchestrated murder scenes, cool music, red and blue lighting for no apparent reason, killers in need of a manicure, dream-like structure. Everyone seems to think this film doesn't make any sense, but I don't think that statement is entirely true. There actually is a thin plot running through all of the weirdness. This is established right from the beginning. There are indeed strange goings on, but you've been told from the start what's going on, so you can chalk it all up to supernatural mumbo jumbo. This isn't Lost Highway where there's no rhyme or reason for anything, you just have to remember that the witches are running the show here, so naturally things are gonna be messed up. And I tell ya, I don't think I've ever laughed harder in my life than I did in the scene with the guy at the hot dog stand. I can only hope Argento wanted that to be funny. I'd recommend this highly. ... Read more

Reviews (80)

A real jolter!
In Switzerland, an American girl named "Jennifer" ( Played by Jennifer Connelly) is attending a girl school there but unknown to her she has special telepathic powers that communicates with insects. An insane murderer is butchering young girls at night, only Jennifer with her insects, a crippled bug researcher ( played by Halloween's Donald Pleasance) and his Chimpanzee assistant must join together to put a stop to the raving mad killer or else it will find her.

An entertaining and very bloody horror mystery thriller that is completely original and interesting, it's from the mind of Italian horror master Dario Argento ( who did " Tenebre", "Demons" and "Suspiria"). This movie is the debut of Jennifer Connelly before she was a big star, she looks good as ever in this movie especially in the nightgown scene, oh man! Jennifer Connelly is a perfect woman.

This movie is quite smart, scary and gory at times but keeps you on the edge of your seat. Originally released here in the U.S. by New Line Cinema called " Creepers" then heavily cut to 82 minutes, Anchor Bay thankfully has re-issued this movie under it's true name " Phenomena" and with the original length 118 minutes of extra footage not seen in the U.S., if you love good suspensful and gore ridden thrillers then add this to your collection.

Also recommended: " Silence of the Lambs", "Suspiria", "Tenebre", "City of the Living Dead", "Cannibal Ferox", "Caligula", " Day of the Dead", " Re-Animator", "Scanners" ," Making Contact ( a.k.a. Joey)", " Inferno", "Sleepless", " The New York Ripper", " Maniac ( 1980)" " House of 1000 Corpses", " Carrie", " Demons", " Akira", "Firestarter", " The Fury", " The Toxic Avenger", " Battle Royale", " Riki-Oh The Story of Ricky", " Ichi The Killer" and "Audition".

Awesome Argento! Original and Creative!
It's hard to find horror movies that haven't taken some kind of thought or idea from a previous one but Dario Argeto's ("Tenebre", "Susupiria", "Deep Red") Creepers seemed to be in a class all by itself (at least to me anyway).

Jennifer Connelly plays Jennifer, a girl who is sent to a boarding school while her father is out of the country working on a film. Unfortunately for Jennifer and the other girls in the school there is a raving psychopath wandering the grounds and butchering the students. When Jennifer meets up with entomologist Dr. John McGregor, played by the late, great, Donald Pleasance (Halloween) she learns of her great power to control insects. If she is going to survive and save the other girls in the process she'll have to learn how to use her gift to stop the killer.

Creepers is very entertaining and moves at a good clip, it's original and well acted for a horror movie. From reading the other reviews I see that this seems to be a shorter version of Argento's "Phenomena". Where Creepers runs about 82 minutes, Phenomena is 110 minutes. I haven't seen Phenomena yet but plan on it. If your a fan of Argento's or horror movies in general this movie is for you.

Hope you're not afraid of bugs
Dario Argento's "Phenomena" is the story of young Jennifer (a very young Jennifer Connelly), who is sent to a Swiss boarading school for girls. She has a special talent for communicating with insects, especially maggots and flys. And it is a good thing, because she is going to need it to help solve a series of murders in the area. My first problem with "Phenomena" (which was relesed in the U.S. under the name "Creepers") is that it bears a large resembelence to Argento's earlier film "Susperia"; also about a young girl who moves into an all girls boarding school where weird stuff is happeneing. This film is another one of those movies that only work when you are caught up in the moment and do not think too hard about what is going on in the long run. Believe it or not, the fact that Jennifer can talk to animals is probably the most plausable aspect of the movie. Then you start trying to connect the dots, it makes for spotty work at best. For example, the characters seem to be able to make intuitive deductions without much evidence to go on; they seem to show up at the right place at the right time for no appeareant reason. And the pet monkey seems to be able to find a weapon just in the nick of time (I didn't know people just throw away perfectly good, never been used, streight razors all the time in a trash can in the middle of the woods) and know just how and when to use it. The audio mix on the DVD is also a little off, and I don't mean because it was dubbed into English from Italian. The soundtrack (which by the way is very cool, Iron Maidon and Motorhead!!) seems to have been placed in at the most inappropriot places in the movie. The actors just did what they had to do; Jennifer Connelly was playing the Nancy Drew bit to the hilt. Donald Pleasents basicly plays Dr. Sam Lomis (from "Halloween") again, this time wheel chair bound with a monkey and maggot covered severed head for company. The others are pretty forgetable. I did like the photography, it was well lit and the locations and settings were phenominal (no pun intended). So, it is just an interesting foot note in Italian cinema.

Horrors fans only
Occasionally I watch a gross-out horror movie, if I like the actor and it has high reviews. I tend to forget that the high reviews always come from horror fans.

And I have yet to see such a movie that was really good by ordinary film standards. This is no exception. Basically the story and logic is sacrificed for cheap horror effects, like maggot-eaten faces.

The one good thing about it is Jennifer Connelly, who even at this tender age was the prettiest thing on two legs.

4 words...
Jennifer Connelly, Iron Maiden.

That says it all. Any movie with Jennifer and the Maiden in it is just freaking awesome! ... Read more

Reviews (74)

Argento's On A Roll
Argento takes a break from the supernatural to return to his giallo roots. Many fans consider this one of his best and I'd agree with that. As I said before, it's a return to giallo, so the plot isn't 100% original, but it has some original ideas put into it. Plus, with the way Argento films his movies, does it really matter what it's all about? Tenebre is an awesome whodunit slasher flick that actually manages to keep you in the dark about the killer's identity. It's also got some of his most stylishly orchestrated murder scenes(you know which one I mean in particular). I've noticed upon repeated viewing that alot of modern so called "horror" films have freely borrowed from this film. That's an old story coz most Italian horror films have had their ideas stolen for modern horror. But, no matter how young and pretty you make the cast or how much you MTV it up for today's AD&D audience, no one can get close to Italy's style. And it's probably impossible to get anywhere near Argento's in particular. This leaves me totally flabbergasted by the rumors of a Suspiria remake! Think about that for a second, will ya-THERE ARE RUMORS THAT SUSPIRIA IS GONNA BE REMADE BY AN AMERICAN STUDIO!!!

Argento's true masterpice
Absolutely marvelous! Featuring sophisticated, super-stylish cinematography, an engrossing plot, a hauntingly eerie score, and overly gratuitious gore, Tenebre is a must see for any true horror fan. Argento was inspired to write this after an obsessed Suspiria fan sent him a death threat, and the result is a raw, thoughtful piece of Italian horror. Once again, a trademark Argento killer with a predilection for black leather gloves is on the loose...inspired by murders from the protagonist's latest novel Tenebre. Of course, the movie is superbly shot and utilizes suspenseful vouyeristic angles. The music couldnt be more suitable, but the acting could have used some work. Among the most memorable scenes include flashbacks featuring real life transexual Eva Robins; these scenes are beautifully shot and quite vague until the end. Also this film contains the bloodiest axe murder i have ever seen in my eighteen years...it will send shivers down your spine! Granted, Tenebre is an extremely violent and gory film, but make no mistake; the kills are elegantly executed and done with such finesse that one almost forgets that murder is wrong. In comparison, over-top-gore films such as Dead Alive or Dawn of the Dead seem rather crass and childish. Though many consider Deep Red (an excellent film, by the way) to be Argento's masterpiece, I side with Tenebre. The pace is much, much quicker, the camera work is more complex, deaths are more dramatic, and the plot held my attention the whole way through. Deep Red (the full, uncut 126 minute version),with all due respect, suffers from pointless, lengthy dialogue and a few uneventful sequences..great ending though! If you have a choice, pick Tenebre. What Im trying to say is that Dario Argento is unequivocally the master of horror. Don't miss this one!

AWESOME SUSPENSFUL THRILLER!!
This was the first film of Dario Argento I had the privledge of watching and I must say I loved it. The film kept me on the edge of my seat, wondering who the killer was. Interesting, nicely paced plot, decent acting, eerie soundtrack and great killing scenes make for an amazing flick.

I was so impressed with Tenebre that I wanted to check out other Argento works as well but "Suspiria" was the only one I could find around here. So if you have the privledge of seeing any Argento films I would check them out starting with Tenebre. That's how good this movie is!!

one of argento's best
I've seen 7 of his movies total after being very impressed with
the first movie I watched by him suspiria. Out of Suspiria, Phenomena, Deep Red, Stendhal Syndrome, Sleepless and Inferno I would have to say this is one of my favorites. I even own the soundtrack its great !@#

One of Argento's best
This easily ranks among my top 5 from Dario Argento.

This gem tells the tale of a horror author Peter Neal and his newest book, Tenebre. The book is deemed by some to be sick and sexist (since the victims in the book are females). However, a homicidal fanatic is killing people in the same fashion of the book! The movie definately has the stylish touch of Mr. Argento. Also, I found the cast to be rather superb (John Saxon is in it, and he always gives a good performance). A nice surprise ending too (though it would be somewhat copied in Stendhal Syndrome). Definately worth watching. Hell, buy it! ... Read more

Amazon.com

The first half of Dario Argento's heady psycho-thriller is a mesmerizing merging of dream and reality. A beautiful young Italian detective (Asia Argento, who does little to convince us she's a tough, seasoned cop) investigating a serial rapist is suddenly overwhelmed when the paintings in an art museum erupt with life. According to the film, this is "the Stendhal Syndrome," an intense and overwhelming response to art that turns the viewer mad. As Anna steps in and out of fantasy worlds like Alice through the looking glass, she's kidnapped by her quarry, who repeatedly rapes and tortures her in a dark, dank underground cave. The delirious nightmare of shattered reality becomes a sadistic, mean-spirited spectacle of murder and degradation--perpetrated on, of all people, the director's own bound and beaten daughter!--and the thriller disintegrates into a paranoid mystery of amnesia, split psyches, and shadowy phantoms. At its best this is a mesmerizing vision of madness: paintings melt into the real world while objectivity disintegrates before our eyes. But before the unexpectedly sensitive conclusion, Argento puts the viewer through a bravura but brutal series of gory murders (a slow-motion bullet passes through both cheeks of a helpless victim, and another shooting is viewed from inside the body) and unsavory violence. The poetic beauty of Phenomenon and the craftsmanship of Suspiria and Deep Red are sorely missed. --Sean Axmaker ... Read more

Reviews (40)

Seriously good psychological thriller
CONTAINS ONE MINOR SPOILER
The Stendhal Syndrome was the second movie I saw by Dario Argento. Since then I've become a huge fan of his work. Many people find this multi-layered thriller to be one of his failures and I find that hard to believe. Granted, it's more character driven than most of his movies tend to be and the movie's pace and athmosphere change dramatically in the second half. Still, I found out that it's got a lot of his trademarks (having now viewed all his movies except Four flies on grey velvet, which I can't find anywhere). It's stylish as hell, with great use of artworks (as metaphors that is; the scene where Asia covers herself in paint had me wondering), the music score is excellent (by Ennio Morricone; not Goblin) and the violence is at times extreme (the rape scenes particularly, since you know Asia's father is directing them).
The real difference with this film considering Dario's other films is the psychological undertone. I have watched this movie now three times and I'm always seeing something I didn't figure out the last time. That's what great complex thrillers do, they always keep you wondering. This is without a doubt Dario Argento's most complex film, it demands the audience pay attention to what's happening. As far as psychological thrillers go, this one ranks high.

SERIOUS TROMASONE DAMAGE
Despite an incredible opening 20 minutes, THE STENDHAL SYNDROME
soon meanders into tedium and never manages to recover. Although initially disappointing Argento titles such as TRAUMA, for example, have blossomed with the passage of time, this film seems particularly resistant to reappraisal. Certain elements work extremely well, with Thomas Kretschman's forceful performance, Morricone's repetitive score and Asia Argento's hypnotic visit to the Uffizi Gallery being the major assets. Unfortunately, the film soon abandons it's one truly original idea - the "Stendhal Syndrome" itself - and heads in a more mundane killer vs. police direction. Of course, Argento tries to spice this up with abherrent psychology, grotesque sadism and narrative trickery, but the end result never approaches the high standard set by classics such DEEP RED or TENEBRAE. Scenes between Anna (Asia) and the police psychiatrist are interminably boring, whilst the less said about the unconvincing family relationships and romantic scenes, the better. Although this is my least favourite Argento film, it certainly didn't deserve the humiliation of being released by Troma! Lloyd Kaufmann's inane, ill-informed introduction claims the DVD contains the digitally re-mastered director's cut. What this actually means is a BADLY transferred version of the TRUNCATED export print. Compared to the luminous image quality of the French DVD, the Troma disc's muddy, washed out colours are extremely unimpressive. The largely irrelevant extras and promos for idiotic junk only add to the bargain basement atmosphere. If you're an Argento completist, wait for a more definitive release - shelling out for this contemptible mess from Troma would be murder.

Horrible DVD Quality, Interesting Movie
Troma should feel ashamed by the horrible quality of this DVD. Argento's films are usually released on Anchor Bay, who does a stellar job with the transfers. This DVD, though, is so full of artifacts in dark scenes that it felt like I was watching a 5 year old video from a rental store. It also didn't feel like it was a FULL letterbox version as parts of the opening credits were cut off on the left and right edges.
One of the interviews was OK, but it was really an interview all about Argento's 'Phantom of the Opera'. The other interviews were extremely cheesy as they weren't even done in person -- it was just Dario holding a microphone answering questions that were coming to him over the phone.
The movie is quite interesting and better than I expected. It deserves a much better DVD than this extremely cheesy production from Troma, though. Movie gets a 4/5, DVD gets a 1/5.

deep but disturbing
I am a little torn on how to judge Dario Argento's "The Stendhal Syndrome". The movie is about a Rome police inspector Anna Manni (director Dario's daughter, Asia Argento; who seems a bit young to play a police detective), who is assigned to the anit-rape unit. Manni's current case is to track down a serial rapist and killer who is stalking girls in Rome and Florence. The killer finds her in an art museum. While she is there, she falls victom to the stendhal syndrome (that is, having a physical reaction to a powerful emotional piece of art) which catches the attention of the killer. Shortlyu there after, Anna is captured and savagly raped and beaten by the killer. The attack leaves her seriously damaged mentally and emotionally. She now must hurt and mutalate herself just to feel. While on vacation, Anna is captured and tortured again by the killer, but this time mangaes to escape and kill the man. But this only leads to deeper despair. "Stendhal" has it's good points and it has it's bad points. Well, first the good. This is a powerfully disturbed movie; unflinching and brutal. I must praise Ms. Argento for having the guts to play such a demanding role; what she lacks in talent (and she dose lack), she makes up for in courage and effort to play on such raw emotions. She has made a career out of playing victoms who, after they are damaged in whatever way, can only respond to new world with equal amount of venom. The violence is very disturbing, not so much the amount of gore (although there is plenty of that), but because it is so mean spirited. However, if you're a Dario Argento fan, you're probably, um, if not used to it, at least you're expecting it. Now onto the bad. Structurely, the movie seems disjointed. At first it is a serial killer movie, and then it is a tour through the mind of victom turned killer Anna. The twist of having Anna turned into the killer at the end seemed a little strange, but I guess it isn't too terrible a streach. The acting is pretty bad, but I blame dubbing the language from Italian to English. The movie also has long straches where seemingly nothing happens. This scene is the most offensive: Manni's partner and sometime lover comes over and tries to suduce her right after her first rape. How insensitive can the jerk be! But as if that wasn't bad enough, Anna turns the table on him and psudo-rapes him! How very disturbing. All in all, this is an Italian horror film, so it is intensly violent and gory. But it is Dario Argento, who knows that the more scary violence is done to the mind, not nessisarily the body.

Terrible DVD of an impressive film
The Stendhal Syndrome is an effective, stylish thriller from horror maestro Dario Argento. The film alone would rate at least 4 (out of 5 stars)but the Troma DVD is pretty appalling. The audio is hissy and the volume low and the picture is incorrectly letterboxed and riddled with digital artifacts. If the DVD weren't bad enough it's made even worse by having a horrible, embarrassing introduction and foolish, faux interviews with Troma president Lloyd Kaufman. A good film is severely cheapened by a garbage presentation. A big, fat ZERO for the disc. Hopefully, Blue Undergroud or Anchor Bay will be able to obtain the rights soon. ... Read more

Amazon.com

Sam Dalmas (Tony Musante) is an American reporter living in Rome who witnesses what appears to be a murder. Trapped by a glass wall, he can't intervene, but does manage to scare off the killer. Wounded, the victim survives, and Dalmas's curiosity drives him to look further into the story, but he soon finds himself and his girlfriend in jeopardy and stalked by the would-be murderer. Director Dario Argento's debut film is a remarkable work, more restrained than many of his later films. Based on an obscure 1950s pulp novel, Bird draws heavily on Hitchcock, as well as on American novelists such as Dashiell Hammett and Cornell Woolrich.At the same time, its execution makes it a highly original, inventive, and fast-paced film that plays with the conventions of the thriller genre. As was often the casewith Hitchcock's work, Dalmas is a spectator to the original crime, reflecting the voyeuristic role of the film audience. He's an ordinary guy who unravels the circumstances of the crime until he comes across the most unlikely scenario, a device also reminiscent of Hitchcock. The score, editing, and camera work, however, give the film a distinctly Italian stamp, and established Argento as a stylish, innovative director to watch. The scene in which Dalmas is chased through the streets by a gun-toting assassin, in particular, is a little gem of suspense. Modern-day thrillers should hope to live up to this film's intelligence, energy, and intricate plot twists.--Jerry Renshaw ... Read more

Reviews (28)

Broad appeal for Argento's debut feature
Even those who don't care for writer-director Dario Argento's later baroque extravaganzas may warm to his debut feature "The Bird With the Crystal Plumage" (L'Uccello dalle Piume di Cristallo, 1969), a well-received thriller in which an American writer living in Rome (Tony Musante) witnesses an assault on a woman in an art gallery and is subsequently targeted by the would-be assassin, a crazed psychopath who's been terrorizing the city with a series of brutal murders. Typical of an Argento thriller, the hapless hero's investigation unleashes a cycle of violence which culminates in a climactic unmasking that will take some viewers completely by surprise. Loosely inspired by Fredric Brown's novel 'The Screaming Mimi' (filmed under that title in 1958), Argento's first film is a fairly straightforward thriller with horror asides, anchored by a strong narrative, an increasingly bizarre series of supporting characters, and a strong Everyman hero who slots the puzzle together piece by piece before realizing that the most important clue to the killer's identity was there in front of him all the time. Musante is given excellent support by English actress Suzy Kendall as his girlfriend (the scene in which she's besieged alone in her apartment as the killer hacks through the door with a knife is truly the stuff of nightmares) and Enrico Maria Salerno as the cop charged with finding the killer before he/she strikes again.

Despite Argento's prior screenwriting credits, including significant contributions to the script of Sergio Leone's "Once Upon a Time in the West" (C'era una Volta il West, 1969), producers were unconvinced of his directorial abilities and wanted to pull him off the picture during the first few weeks of shooting, but Argento persevered under an iron-clad contract and ultimately proved his critics wrong with the finished product, a genuinely engrossing mystery punctuated by scenes of explicit horror. The film puts a late-1960s Italian spin on the kind of movie that Hitchcock had already popularized in America, and is leavened with the same kind of uproarious humor: Salerno gets the best line of dialogue during a police line-up when he despairs: "How many times do I have to tell you? Ursula Andress belongs with the transvestites, not the perverts!" And later, an outrageously camp antiques dealer offers a jaw-dropping description of one of the killer's former victims: "It was said she preferred women. I couldn't care less - I'm no racist, for heaven's sake!" Briskly edited by Franco Fraticelli, and featuring a brief appearance from distinctive character actor Reggie Nalder ("Mark of the Devil", "Salem's Lot") as an assassin-for-hire, "Bird" is arguably Argento's warmest, most humane thriller until "Tenebrae" (Tenebre) in 1982.

VCI's region-free DVD runs 95m 47s (not including the UMC logo at the beginning, which wasn't part of the original film) and restores all of the violence that was cut from the initial US theatrical release. The restored material is derived from a separate source - possibly VHS - and is of lesser quality than the bulk of the film, which offers a bright, colorful rendition of the Cromoscope image, slightly reframed to 2.20:1 (from the original 2.35:1), anamorphically enhanced. VCI were forced to issue a 'corrected' version of the disc when it was discovered that one of the restored sequences - the bedroom murder - had been edited incorrectly. However, both versions offer an unnecessary two-channel stereo 'enhancement' of the mono original which sounds more than a little forced and unnatural, made worse because the dialogue is badly out of sync for the duration of the movie, and while the film relies primarily on Vittorio Storaro's widescreen visuals, the audio blemish provides a hideous distraction during prolonged conversation sequences. Ennio Morricone's lilting, melancholy music score is cut off at the end, just as the last credits disappear from the screen, whereas it continued for almost another minute in the theatrical version. There's a letterboxed trailer and an audio-only soundtrack option, but no captions or subtitles of any kind.

Fast-paced and clever
There are two types of Dario Argento films: those after "Four Flies on Grey Velvet" (excluding "The Five Days of Milan," which was never released in the U.S.) and those before it. "The Bird With the Crystal Plumage," Argento's first film, belongs to the category of the before and includes the noticeable differences between the two. While the entire body of Argento's work is something to admire, his first three films are surprisingly well-plotted, given Argento's notorious lack of interest in matters of narrative structure. "Bird" begins with Sam Dalmas, an American writer living in Rome, witnessing an attempted murder in an art gallery. Though he is unable to do anything, his fortuitous arrival saves the victim from almost certain death. His passport confiscated and at first held as a suspect, Sam is told by the police that this is the fourth attack in one month. The only difference is, the victim, a beautiful woman named Monica Ranieri, was the first to survive. Troubled by the idea that he saw something that didn't quite fit, he soon begins his own investigation, putting both his life and the life of his girlfriend at great risk. Several attempts are made on their lives, and everytime Sam is able to learn of someone who might be able to help him, that person is murdered. Finally, in a double-twist ending, Argento reveals the identity of the killer in a cleverly constructed manner. A pure delight from start to finish, "Bird With the Crystal Plumage" is one of the most entertaining (if minimal) thrillers since Hitchcock. Another attribute is Argento's knack for always creating a cast of wonderfully offbeat characters. Be sure to catch Inspector Morosini's exclamation regarding the "perverts" in the line-up sequence. Black humor is equally interwoven with generous amounts of suspense to create a fast-paced and clever mystery/thriller.

A brillant debut!!!
I saw this movie after seeing many other films from the master of horror Dario Argento and I was a little scared about this one but surprisingly I found it very interesting for a first picture from a new director. The cold colors, the calculating plot and suspense keep you into a nail bitting tension from the start to the end. The only bad thing from the movie is probably the english traduction but this is very often from foreign motion pictures. It`s a must for the fans of Dario but also a great thriller for the others.

His first and arguably one of his best
I really couldn't tell you why I have yet to watch every film in Dario Argento's filmography. A few years ago it was easy to claim ignorance of many of this Italian director's important works because it was often so difficult to find any of them in an uncut form. Fortunately, DVD arrived on the scene and salivating film fans with dollars to spend prodded numerous companies to start churning out any movie they could get their hands on to satiate the masses. It wasn't too long before practically every Argento film arrived on store shelves, with many of these releases being the uncut, unrated editions. Even Troma, the flagship of flaccid filmmaking, released a so-so version of Argento's "The Stendhal Syndrome." People outside of the world of Italian horror cinema have most likely never heard of Dario Argento, unfortunately. These days, more people are familiar with the director's beautiful daughter Asia than with the horror maestro himself. What a shame. Argento's films, at least the ones I have seen, are masterpieces of style injected with truly cringe inducing gore. And to think it all started in earnest with this engaging Hitchcockian thriller, "The Bird With the Crystal Plumage." Argento and his fans never looked back, but this is an apt starting point for those unfamiliar with this director's work.

An American reporter staying in Rome witnesses a truly shattering event one evening when he sees a gruesome assault takes place inside of an art gallery. Barred from interfering with the proceedings due to huge sliding glass doors, Sam Dalmas can only look on with horror as two figures, one clad entirely in black and the other a woman, struggle with each other over a very shiny knife. The person in black flees the scene of the crime, leaving behind the hapless woman with a knife wound to the abdomen. When Dalmas does his duty by calling in the police, his story leads the officers to cast a doubtful eye on the concerned American. The police insist that Sam stay in Rome until the investigation turns up some clues, much to the consternation of Dalmas and his pretty girlfriend Julia. It seems that Sam was planning to leave Rome, but all bets are off as more murders occur that the police suspect are linked to the crime seen by Dalmas. Moreover, Julia and Sam start receiving grim phone calls from an unknown person who almost certainly is the figure behind these crimes. Our hero is in a real fix, with his only supporters being his woman and a friend who works at a museum. At least the cops start to come over to his side as the bodies pile up, especially once they listen to those eerie phone calls. A unique sound in the background of one of these calls provides the break Dalmas needs to identify the killer he saw on that fateful night. The conclusion has more twists and turns than a cyclone.

"The Bird With the Crystal Plumage" helped inaugurate the era of the Italian giallo (Italian for yellow), so named because in Italy cheap paperback crime novels came with yellow covers. These are the films with the anonymous, black-gloved killers toting gruesome looking knives while stalking their mostly female prey. The crimes are often seen from the point of view of the killer, giving the audience the impression that they are part of the heinous murders. Argento plays the giallo for all its worth here, matching this disturbing technique with a great score by the inestimable Ennio Morricone and camera work rarely seen in the horror genre. The cinematography here is simply divine, with the director including a shot from the point of view of a man falling from a tall building and an ultra cool scene where the camera points at a lighted doorway from inside a darkened room. All these elements combine to make this film a taut thriller of enormously entertaining dimensions. Moreover, of the few Argento films I have seen to date, "The Bird With the Crystal Plumage" contains one of his most coherent plotlines.

Gorehounds might find themselves a bit disappointed with the lack of the trademark Argento gore (no sharp corners to bash a head against here!) in this movie, but the stellar camera work, truly creepy scenes of murder and mayhem, and the strong performances from Tony Musante as Sam Dalmas and Suzy Kendall in the Julia role more than make up for the 'PG' rating. Still, that rating made me wonder a bit about what the people at the MPAA were thinking when they viewed this picture. There is upsetting violence here, along with some truly disturbing scenes that hint at where Argento would go in the future. The way the killer caresses those weird looking blades (one of which, I am almost certain, appeared in a later Argento film called "Deep Red") and the participatory effect the audience feels during the killings makes you wonder how this movie got off with such a mundane rating.

The DVD version of "The Bird With the Crystal Plumage" is strictly bare bones: you get the film and a trailer, which is good considering its relative obscurity but could have been better. As others have said, the audio is quite muzzy at times and the picture quality isn't anything to write home to mother about. After viewing this picture and a couple of other Argento films, I must say I really enjoy how these movies mess with your mind. Just when you think you know what's going on, good old Dario throws another curveball. He does this in many of his films, but he does it here for the first time. What a joy it is to watch it today!

A SUSPENSEFUL THRILLER!!!
THIS FILM HAS THE RIGHT ATMOSPHERE FOR A CREEPY THRILLER AND IT KEEPS YOU INTERESTED THROUGHOUT.
THE MOVIE ALSO FEATURES A "SURPRISE" ENDING THAT YOU PROBABLY WON'T PREDICT.
IT'S FAIRLY SAFE TO SAY THAT THIS THRILLER SUCCEEDS ON ALL LEVELS AND IS A GOOD WAY TO PASS 100 MINS. PLUS!!
I ENJOYED THIS HORROR THRILLER AS YOU WILL WHEN YOU SEE IT!!
IF YOU ENJOY THE MOVIES OF HITCHCOCK, YOU MAY ENJOY THIS FILM ALSO!! ... Read more

Reviews (6)

lower the f***ing price
i haven't seen these movies, but i am an argento fan and i read that these were good. but whoever is selling these is not going to get anyone to pay such a damn ridiculous price for something that is supposed to cost $30. very unreasonable pricing.

2 Argento Classics For The Price of 1!
Anchor Bay's Dario Argento Collection Volume 3 represents the best of the Italian Hitchcock's distinguished career in horror. First up, we have DEEP RED, his breakthrough. I love the way Argento throws a simple eyewitness (in this case, a Jazz pianist/music teacher) into the mystery. There is a detail of the murder that he witnesses that is like a splinter in his mind (a missing painting) and compels him to investigate the murder. First off, DEEP RED is brilliantly realized and scary in its structure and execution; even things that seem unrelated fit into the solution! I also enjoyed the scenes with David Hemmings (the pianist) and Daria Nicolodi (the reporter that is investigating the murder); not only do they have a terrific chemistry lacking in today's movies, but these moments actually allow you to relax and often laugh. Sure the language switches are annoying at first (at least subtitles are provided, and the original Italian dialogue track is included, in 5.1 no less), but at least it's uncut. DEEP RED (aka PROFUNDO ROSSO) is a definite must-watch!
TENEBRE is considered by some Argento fans to be his masterpiece, and it's easy to see why; I bet Stephen King has seen this movie and could relate to it. The title refers to a murder mystery novel that is a best-seller and is being promoted in Rome by its author, Peter Neal (Anthony Franciosa). Anyway, someone is on a murderous rampage seemingly inspired by the book (in fact, the first victim has the pages of the book stuffed in her mouth as she is knifed). TENEBRE is rich in symbolism and style; just check out that photography! The ending is one of the greatest horror movie endings of all time! And again, another great performance by Daria Nicolodi as the author's friend; John Saxon steals it as Neal's agent. You have got to see this movie, it will blow you away!
This limited edition 2-pack is the best way to own Dario Argento's greatest achievements! Both films are light years beyond any horror film made before, between, or after them. This is Dario Argento at his best; HIGHLY RECOMMENDED!!!

THANK YOU,AMAZON.COM!
NO WORDS CAN ENOUGH DESCRIBE FANTASTIC CUSTOMER SERVICE OF AMAZON.COM.YOU CAN'T GO WRONG ORDERING THIS 2DVD WITH 2 LEGENDARY FILMS FROM AMAZON.COM.AGAIN,THANK YOU MY BELOVED SHOP,YOU ARE THE BEST,AND NOT ONLY IN THE NET!
SO,LETS MOVE ON THIS 2 CLASSICS.TENEBRE - UNLIKE DEEP RED,THIS IS VERY BRIGHT GIALLO,YOU CAN SEE ALL PERFECT GORY MURDERS IN ALL THEIR GLORY,BUT IT DOES NOT SOFTENED THEIR IMPACT.CAMERA WORK IS,AGAIN,OF COURSE PERFECT,MUSIC IS FOR FIRST EXPERIENCE NOT SO GOOD,BUT WORKS IN FILM VERY GOOD.SO,IF YOU HAVE TASTE FOR PERFECT GORY GIALLO IN HIS FULL REMASTERED GLORY,YOU CAN'T GO WRONG WITH TENEBRE!
AND IF TENEBRE WASN'T ENOUGH,ON THE SECOND DISC IS DEEP RED - DARK,SCARY GIALLO,WITH REALLY BIG STORY,LEGENDARY MUSIC FROM GOBLINS,GOOD PERFORMANCES FROM ALL ACTORS,AND IN IT'S FULL,UNCUT 126 MIN.VERSION.
GO TO THE ROOTS,WATCH IT WITH PERFECT PICTURE AND SOUND,AND ENJOY IT'S BONUS MATERIALS,ALL FOM ANCHOR BAY ENTERTAIMENT!
THANK YOU,AMAZON.COM.BUY IT FOM AMAZON.COM NOW!!!

Which of the two is best?
Ive never met an Argento movie i didnt love and these two are no exception. Stylish and intense would describe them both. Called by some, the Italian Hitchcock, Argento is truly a master of the genre. The quality of both DVD's is great, with fantastic sound and picture quality. The musical score by Goblin is marvelous.

A Double Dose of the Dying
Normally I prefer to pick up movies in their own individual formats and avoid these dual releases. I never really liked the quality of many of the setups, with their cheap renditions of movie art and lame packaging to the sometimes lower quality of the product itself. Still, this was not the case in the Dario Argento Collections because, as others have testified, Anchor Bay's transfer was crisp and clean, certainly beat the older transferals I had seen. To add to this, I like the way the cover art gives a more modern depiction of both movies meshed into one, plus gives you the original art sampled on the inside.
As for the movies themselves:
Deep Red is a classic Italian suspense tale involving a witness overseeing a murder, rushing to the scene of the crime to help, and then finding himself ensnared in Argento's classical psychological/some physical torment web that engulfs both himself and the killer. There are a lot of layers circulating throughout the movie, giving it depth beyond the normal genre "slasher" flick. That said, its also one of the more gruesome films that Dario directed. With killings involving cleavers, oddly conceived decapitations, and other unique methods of murder that I won't mention for fear of spoiling them, it manages to keep the gore lover's attention without insulting them. With film restoration adding to the movie, you are given a clearer overall picture of what Argento wanted to present as well, despite language switches causing the need for subtitles throughout the movie.
Tenebrae is the story of the acclaimed novelist Peter Neal, whose works have obviously attracted much recognition. Currently we catch him in Rome, "doing the rounds" to promote his newest work, Tenebrae. Unfortunately for Neal, the novel has attracted a certain fan who is a bit more murderously influenced than most. Overall, I was impressed with this work because it operated off of story and not just gore. Tenebrae does have a few gruesome parts in it, mind you, but it also has a few points where the plot pivots on its heels. It manages to keep you wondering "who" without depriving you of the psychological torment that someone normally expects from Argento.
Both are nice pieces that seem to suit both Argento fans, newcomers, and even some critics alike. I recommend them highly. ... Read more

Reviews (47)

A real Collector's
It's not probably among the masterpieces of the Maestro of Terror, but this DVD edition really rules! The video is clean and the audio is available also in THX. And the package comprises a previously unreleased 35-minute interview with all the people working on this film. Director Dario Argento, actors Urbano Barberini and Daria Nicolodi, director of the cinematography Ronnie Taylor take your hand and lead you through a detailed reasoning on the creation and the development of this thriller which doesn't offer a wonderful screenpaly or a superb acting, but gives it all on the magical atmosphere around a misterious chain of gore murders seasoning the theatrical release of the Macbeth. Disc two launches the evocative original soundtrack. A must for Argento's fans all over the world.

Dario Argento....The Horror Film Scientist!!!!!!!!
Don't expect any "out of your seat jumper"scenes or super gore in this movie,remember,this is an Argento movie and he is one of the few Italian directors that doesn't have to use extreme gore closeups or hard core death scenes to get your attention.This movie is 2nd to his masterpiece, "Susperia". Opera is not a slow film with a dragging story line that takes forever to build up.From the opening Argento moves in for the kill and grabs the viewer,and then rocks your brain with bold effects and stunning camera wizardry.I highly reccomend the unrated version with the extra sountrack disc.You just don't see horror like this any (...) more...what a shame.

Marvelously warped
After watching Dario Argento's 1987 film "Opera," I have moved into the final phases of seeing his entire body of work. It was easy to claim ignorance of many of this Italian director's films until a few years ago because it was difficult to find them anywhere, let alone in an uncut form. Fortunately, DVD arrived on the scene and eager film fans with dollars to spend inspired numerous companies to start churning out any movie they could get their hands on. It wasn't too long before practically every Argento film arrived on store shelves, many of them in uncut, unrated formats. Unfortunately, most viewers have likely never heard of Dario Argento. These days, more people know about the director's beautiful daughter Asia than the horror maestro himself. What a shame. Argento's films, at least the ones I have seen, are masterpieces of style injected with truly cringe inducing violence. For a few years in the 1980s and 1990s, Argento drifted away from his tried and true giallo formula, only recently returning to some semblance of form with "The Stendhal Syndrome" and "Sleepless." "Opera" is one of the films bridging the gap between films like "Phenomena" and his later giallo efforts.

Betty (Cristina Marsillach) is an understudy who must step onto the stage after an accident leaves the opera's star in the hospital. The theater is staging a version of Verdi's "MacBeth," an opera often considered by artistic types to carry a curse for those who work on it. Despite these concerns, Betty knocks 'em dead on her first night in the lead role. Theatergoers laud her performance, as does the director Marco (Ian Charleson), since she overcame several obstacles. A lighting fixture crashed to the floor and the live ravens used as stage props acted up, but Betty kept on hitting the high notes. Mira (Dario Nicolodi), Betty's pushy agent, raves about her and begins mentally tabulating future opportunities. Marsillach's character shrugs all the compliments off with a sort of aw shucks sensibility. Besides, she soon has a lot more to worry about than her singing career. You see, yet another one of Argento's black-gloved lunatics is slicing and dicing his way through the theater troupe. For some reason, the killer takes a liking to Betty. He follows her home, ties her to a pillar in her house, sticks pieces of tape with needles on it under her eyes to force her to pay attention, and makes her watch him dispatch her boyfriend.

This same situation plays itself out over and over again-the killer sneaks up on Betty, forces her to keep her eyes open with the tape and needle prop, and dispatches a friend or colleague. The gore in these incidents reaches heights of over the top insanity, even for Argento. You get an incredible knifing from an intriguing point of view, a scene with a pair of scissors that will leave you gasping for breath, and an incident involving Mira's character that is probably the best murder scene ever invented by Argento. A bullet through the keyhole, through the eye, through the head, and into a telephone had me standing up and cheering. And like all of Argento's films, the violence onscreen is shot in extreme close up. Moreover, it goes on and on for what feels like hours. He's one of the few directors who can actually make me avert my eyes because the carnage becomes too much to watch. While there may not be much in the way of plot, acting, or a decent script in the film, the gore will keep you coming back for more. This is brutal stuff.

Of course, the gore isn't the only attraction here. Once again, the usual Argento style is in full display. The point of view shots come fast and furious, with the unfolding proceedings seen, at various times, through the eyes of the ravens flying about the opera house or through eyes clouded by eye drops. Camera tricks look great, too. At the start of the film, we see the opera house reflected in the eyes of one of the ravens. We sometimes see an image of the killer's throbbing brain, accompanied by a heartbeat, seconds before he preys on his latest victim. The real trick in "Opera," as it is in all of Argento's films, is to try and figure out who the madman is. Is it Marco? Mira? The odd Inspector Alan Santini (Urbano Barberini), a cop assigned to the case that shows up to investigate each of the crimes? You will suspect each of these people, along with a few others, at various times during the film. No matter. The end of the movie sets it all straight. Expect the usual multileveled twists and turns before the truth outs in the end. The conclusion has taken some flack from fans that think it has a tacked on feel. I agree, although that does not mean it fails to work in the context of the film as a whole.

More annoying is another issue others pointed out, namely the heavy metal music that swells as the violence unfolds. Argento should have stuck to classical music and the creepy Claudio Simonetti music score instead. As for the "Opera" DVD, it gives us the obligatory Dario Argento biography, a music video, a widescreen transfer, and a fascinating discussion about the film called "Conducting Dario Argento's Opera." In this thirty-minute documentary, Argento discusses locations, the violence, the cast, and the difficulties in making the film. He explains in minute detail how they rigged up a camera to create the bird's eye point of view shot in the theater. The only drawback to the documentary is Daria Nicolodi whining about her failed relationship with Dario and the difficulties of staging that keyhole effect. Argento fans must pick up "Opera" immediately. It's one of his better films.

Weak from Argento, weak in general
Here is my rating for Opera:

acting=1 star
effects=4 stars
ending=1 star
atmosphere=4 stars
Directing and Editing=3 stars
storyline=2 stars
replay value=2 stars

As you can see, it's a big disappointment. While the atmosphere is quite good, the acting, the dialogues and the ending ruins the whole movie. This is the silliest ending for a horror-film I've ever seen.
Sorry Argento.

pretentious and pompous
Maybe I am just getting tired of Argento' work but every other his movie I watch seems worse and worse. Yes, as with other Argento movies a cynematography is unusual, but when this doesn't accompany anything else you start to question the meaning of this creativity. The plot is absurd, acting is horrible (the actress playing the main character is the worst), suspense is minimal. Even gore, that I personally don't care much about but which should be there according to the genre, is totally unimpressive. Plus, it's plainly boring. ... Read more

Reviews (4)

Great 1968 Spaghetti written by Dario Argento
This title was originally released in 1968 as "Oggi a me... domani a te!" in Italy, or "Today is Me... Tomorrow You" in the US. Directed by relatively unknown Tonino Cervi (at least this seems to be his only western) it seems that the storylines of Dario Argento can never fail. Most interesting is how this movie has borrowed ideas from "The Magnificent Seven" yet still succeeds very well. There is one scene in a gunshop where Brett Halsey purchases a revolver and it is so uncannily similar to "The Good Bad and the Ugly" the viewer is left wondering who is borrowing from whom in these 60's spaghetti's! The film moves fairly well but is a bit slow in places, it is a fairly typical story of revenge where Nakadai's character borrows heavily from the character played by Gian Maria Volonte in 'For a Few Dollars More'. Nakadai plays a thoroughly weird character without the brilliance of Volonte but still a great character and to some extent makes this film. Bud Spencer fans will probably be disappointed with a rather shallow role and traditional 'John Wayne' western fans will probably dislike this rather bizaree European creation. But for Spaghetti fans highly recommended.

Tatsuya Nakadai in a Dario Argento scripted western
I saw a Variety ad for an Italian western with the ad copy is the Samurai sword faster than the six gun. Have never seen that one. This has him as a Mexican Comanchero who mostly uses a pistol but has a few scenes where he uses a machete as a Samurai sword. For Nakadai fans this is a must though he has a supporting part as the bad guy. It is no Illusion of Blood or Sword of Doom but worth a look. Montgomery Ford is really Brett Halsey who is also in the Mario Bava Roy Colt and Winchester Jack. As entertainment I enjoyed the overall story, the action was well done, ditto the direction. Give it a try. When I saw it in a cheapo theatre the print had a greenish hue. This was a clean print for the most part.

One good western!
I bought this movie because Bud Spencer was in it, and I was pleased! Its about Bill Kiowa was framed for killing his wife and sent to prison for 5 years. When hes released from jail he goes to his fathers house to see how his dad was doing and to get all of his money. After this he rounds up a few people (including Bud Spencer) and he wants to kill the buddy who killed his wife. One bad thing about this movie is Bud Spencers voice! Its very high, usually its dubbed low, and this is annoying. The best scene is where Bud is tied to the chair and he tears the arms of the chair right off! Its a good film....3 stars.

Decent Spaghetti Western
If you are buying this as a Bud Spencer fan skip it. Bud's voice is dubbed in a voice higher than his which might bother you. The story is about a man kiowa(Ford) who's framed for robbery and his wife killed. After 5 years in jail he's released he than hires Bud and some others to help him catch and kill the guy. A decent western but thats it. ... Read more

Amazon.com

Leaden horror costumer that takes its tenuous starting point from the classic Gaston Leroux novel of the same name. The twist in this variation is that the Phantom was raised by telepathic rats in the subterranean caverns beneath the opera house. Thus our feral Phantom (Julian "Ratboy" Sands) develops an obsessive love for up-and-coming diva Christine (Asia Argento), and sets about to seduce her to his dark, rodent existence. Although beautifully photographed, with lots of ornate period detail to catch the eye, this is largely a by-the-numbers supernatural horror story with scant gory set pieces as diversions. Fans of Dario Argento will yell "Rats!" and all else will merely shrug. And why are the rats telepathic, anyway? Screenwriting credits go to Gerard Brach, best known for his many collaborations with Roman Polanski, most notably Repulsion. However, none of his absurd sense of humor comes through in this film, which really needs it. A shame all around. The DVD includes a short interview with the film's star, Julian Sands, as well as a photo gallery, some dispensable making-of clips, spliced together to appear as a featurette (mostly in untranslated Italian) and a very informative article from Fangoria Magazine. --Jim Gay ...