Opera

Understudy, Betty (Cristina Marsillach) gets her big break, getting to star in a modern stage production of Verdi's Macbeth, after the volatile, original singer gets hit by a car. Betty is nervous, but nails the part. Of course, OPERA is a Dario Argento film, so Betty has more than performance jitters to worry about! Soon, a black-gloved killer begins haunting her and the opera house, causing bodies to pile up. Is the opera suffering from the alleged "Macbeth curse"?

In this wild, gory, inventive riff on PHANTOM OF THE OPERA, Argento takes us along with the psychopath, stalking, creeping, and running through hallways. Down staircases and corridors, we see what the madman sees. Once again, the director captures nightmare on film, turning a giallo into a fascinating viewing experience. It's all about eyes and witnessing in this one! That, and never pissing off any ravens!...

Dario Argento's movie about a young opera star that gets stalked by an obsessive fan, who might have a link to her past and more specifically to her mother.

What's great about Opera is its visual effects, its passion for the craft of making movies. The camera angles are inventive, as is the way the camera moves. The gory special effects are ahead of their time and the whole film has this feel of oppression to it. Like no one can be trusted and that there are ghosts hiding within the walls.

Not to say the story is terrible. It's just that it's rather blatantly ripping off Phantom of the Opera. One might argue it's paying an homage to a giant of the genre, but it still leaves the film lacking in originality.

But still, this is supposed to be an exploitative horror film and in that regard it delivers beautifully. The acting is on the right side of corny, the special effects and the gore are beautifully realized and the film's mood is just about perfectly morbid. I especially like the theater as a setting, with ravens and all.

Is it the best Dario Argento film there is? Nah, probably not, but it is a great find for all fans of old-time horror films.

Mostly I would recommend Opera because of the fine visuals, style and atmosphere, and because it is one of the better movies of Mr. Argento outside of the Three Mother trilogy box (Susperia, Inferno, The Mother of Tears). If you are interested in the works of Dario Argento, Opera belongs rightfully on your list.

It didn't help that I watched Inferno directly before watching this. This film is not good, but it's just entertaining enough to let it keep playing while I'm busy doing something else, and only because it's an Argento film I hadn't seen yet. I'm confused by the ending. It was like Argento had more than one ending in mind and decided to go with all of them. The final part with the voiceover monologue was weird.

Also, the main character is unlikable, as she comes across as extremely selfish, running away when people are murdered in front of her, people she should care something about, but again and again she only openly expresses her selfishness and doesn't help the police because it's an inconvenience to her delicate feelings. Furthermore, I'm not opera expert, so maybe the character's voice was on point, but her mannerisms as she was singing and her visible discomfort most of the time makes me think the opera reviewers were VERY generous. Several of the characters come across as creeps in some way or another (as per usual in this type of film), and the police are utterly useless (as per usual in this type of film). Furthermore, the killer's motivation is vague. Maybe I missed something.

There is nothing to write home about as far as story, acting (which isn't good in general, including the voice acting), etc. The only good thing is that Argento could still produce some interesting shots, one involving a gun death in particular. But I can see where he started falling off in this film despite it being highly rated.

Finally, if you find the sound of ravens intensely annoying, skip this film. The film LINGERS over them and their noise throughout, for long scenes of just showing their eyes, them flapping around, scratching the listener's eardrums. I didn't even realize I hated their sound until I was forced to listen to it for so long. I don't blame the diva in the beginning for leaving. She was right: The ravens were annoying, and the production looked stupid. Best, most sensible character in the film aside from a random little girl.

If you're OK with the outlandish work of Italy's premier horror director—able to accept his outrageous story lines and flamboyant style—then you should have a great time with Opera. If you don't, then you won't.

Cristina Marsillach plays Betty, a beautiful young opera understudy who is given a shot at fame (in an avant-garde production of Macbeth) when the star of the show is hit by a car. As any thesp who has 'trod the boards' will know, Macbeth is a production that carries a curse—and Betty soon discovers that the show in which she is now the star is no exception: a killer is systematically offing the staff at the theatre—and poor Betty is forced to watch by the sadistic murderer (who tapes needles under her eyes to prevent her from closing them!).

With the help of a little girl who crawls through her air-conditioning ducts, her director and agent, and a few ravens who have seen the murderer's face (!!!), Betty discovers the killer's identity, and the truth about her mysterious past.

Let's face it... Opera is one crazy film, with its preposterous plot-turns, convoluted death scenes, and an ending that beggars belief. And whilst director Dario Argento has never been one for, shall we say, conventional story lines, this particular giallo is so daft, and features so many of his trademark stylish touches (all ramped up to the max), that it's almost as if, with each successive film, he is seeing what he can get away with (at times almost parodying his earlier work).

This is exactly why I find the film such fun!!!

Argento's camera movements are absolutely incredible: gliding, creeping and, in one amazing scene, even swooping around the opera house above the audience; the power of Verdi's music is combined perfectly with the synth majesty of Claudio Simonetti's score, providing a suitably grandiose accompaniment to the sumptuous visuals; and several outstanding set-pieces (featuring Sergio Stivaletti's nauseating gore FX) go to prove that no-one does death better than Argento (check out one character's stunning demise, in which a bullet passes through a spy-hole in a door in slow motion, and straight into their eye!).

7.5 out of 10, rounded up to 8 for IMDb.