Terror in der Oper

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.

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.

When the diva of a daring production of Verdi's Macbeth directed by Marco (Ian Charleson) has an accident, the young opera singer Betty (Cristina Marsillach) successfully replaces her. Soon a psychopath obsessed by Betty kills her boyfriend, the production assistant Stefano (William McNamara); her costumer designer Giulia (Coralina Cataldi-Tassoni); and her agent Mira (Daria Nicolodi). Inspector Alan Santini (Urbano Barberini), who is her fan, gives protection to Betty, but the murderer always gets close to her. Who might be the killer?

"Opera" is a giallo version of The Phantom of the Opera by Dario Argento. The story has many flaws, but technically the film is wonderful. The camera work is fantastic, exploring unusual angles and movements. The cinematography is outstanding using beautiful bright colors. The music score is magnificent. And the special effects with lots of gore are top- notch, with usual murders. The cast has good performances and the film never disappoints. My vote is seven.

Title (Brazil): "Terror na Ópera" ("Terror in the Opera")

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.

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!...