Opéra (1987)

Récompenses
- 4 nominations au total

Rôles principaux23

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Cristina Marsillach

Betty

Ian Charleson

Marco

Urbano Barberini

Inspector Alan Santini

Daria Nicolodi

Mira

Coralina Cataldi-Tassoni

Giulia
(as Coralina Cataldi Tassoni)

Antonella Vitale

Marion

William McNamara

Stefano

Barbara Cupisti

Signora Albertini

Antonino Iuorio

Baddini
(as Antonio Juorio)

Carola Stagnaro

Alma's Mother

Francesca Cassola

Alma

Maurizio Garrone

Maurizio - Raven Trainer

Cristina Giachino

Maria - Assistant Director

György Gyõriványi

Miro
(as Gyorivany Gyorgy)

Bjorn Hammer

Cop #1

Peter Pitsch

Mara Czekova's Assistant

Sebastiano Somma

Cop #2

Dario Argento

Narrator (Italian version)
(voix)
(non crédité)

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Démons

Le saviez-vous

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Anecdotes
The idea of the pins-under-the-eyes torture device came from a joke of Argento's. Argento said it would annoy him when people would look away during the scary scenes in his films. He would jokingly suggest taping pins under people's eyes so they couldn't look away from the film. It would late materialize on the screen for this film.

Gaffes
In the killer's POV shot entering the costume workshop, the camera and camera dolly are seen in a mirror on the right.

Citations
Marco: I think it's unwise to use movies as a guide for reality. Don't you, Inspector?
Inspector Alan Santini: Depends what you mean by reality.

Versions alternatives
Available in both R and Unrated versions.

Connexions
Featured in Video View: Épisode #2.9 (1991)

Bandes originales
White Darkness
by Brian Eno and Roger Eno
By Arrangement with Opal Ltd, London

"What Is This, An Opera Or An Amusement Park?!"...

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!...