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DEEP RED (Profondo Rosso)

Aspect ratio: 2.39:1 (Techniscope)

Sound format: Mono

After witnessing the brutal murder of his psychic neighbor (Macha Meril) by person or persons unknown, a British musician in Rome (David Hemmings) obsesses over details of the crime and uncovers a series of clues which lead to further bloodshed and horror.

Released in Italy at 126 minutes, Dario Argento's seminal psycho-thriller was edited down to 105 minutes for European exhibition and further curtailed to 100 minutes for the American market, where it was dismissed by critics as an incoherent mess. In fact, this was Argento's return to the giallo format following a brief - and unlikely - detour into comedy (FIVE DAYS OF MILAN), and the first time he was allowed to 'cut loose' and indulge his unique sensibilities. All the elements of a classic Argento thriller are here: Eccentric characterizations, outlandish plot twists, and a series of Grand Guignol set-pieces that would revolutionize the genre. Using the wide, w-i-d-e screen to create a bold visual tapestry, Argento's film thrives on offbeat sounds and images: The child's song which pre-empts the shocking murders; the heart-stopping moment when Hemmings glimpses Meril at her apartment window as the killer lunges at her from behind (a shot which is both horrific and profoundly humane, all at the same time); the crazy-surreal mannikin which appears from nowhere and 'confronts' a potential victim; and the climactic revelation of the killer's identity as Hemmings finds damning evidence literally staring him in the face. Hemmings is the heart and soul of the entire picture, an innocent abroad whose inquisitive nature fails to mask his essential cowardice, and there are fine supporting performances by Daria Nicolodi, Gabriele Lavia and Clara Calamai in pivotal roles.

The European print which played outside Italy is a tightly-controlled whirlwind of horror and suspense, incorporating character development and violence cut from the American variant. However, the complete Italian version is another matter altogether: Except for the extra material added to Hemmings' search of 'The House of the Screaming Child' (where an important clue is literally concealed in the brickwork), the additional footage simply pads proceedings to breaking point. Whereas the characters were once defined by their experiences, the longer print includes lengthy dialogue exchanges which ramble well beyond their relevance to the plot. Still a masterpiece, the movie works best at 105 minutes, though the flawed Italian edition is no less sumptuous and invigorating.

Sadly, DEEP RED contains one of the most dubious images in Argento's entire filmography: A shot of a lizard impaled on a needle, done for real. This monstrous act of cruelty is inexcusable, given that Argento had hired ace effects technician Carlo Rambaldi, previously responsible for *simulated* animal carnage in Lucio Fulci's A LIZARD IN A WOMAN'S SKIN (1971) which was so realistic, it landed the director in court!

(English version)

It is a very difficult job for me to pick between this and Suspiria as Argento's best work. Both are masterpieces in their own right. Deep Red is about a man that sees a murder committed and then tries to unravel the mystery of finding the killer. David Hemmings does a fine job in the lead as he walks the streets of an Italian city in search of this homicidal killer. As with most of Argento's work, the viewer should not try to make too much sense out of the plot, but rather enjoy the rich subtext and visual tapestry with which Argento paints the screen. The killings, most notably done with a hatchet, are inventive and decidedly gruesome. More than one time I found myself jump and wince(I suppose those are good things!) The acting, even though most dubbed, is very good. The set locations are very atmospheric as well. Argento's camera, however, is the principal character as it shows us all kinds of images related to plot and otherwise and reached into our subconscience for real meaning. This is first and foremost a visual film, and it certainly shows Argento's homage to his mentor's work, the films of Mario Bava.

What's the big damn deal with this film? I've got five words about Dario Argento: Don't always believe the hype. I know I'm not the only horror fan that thinks Argento is a tad too overrated. It seems like the Argento films I enjoy are the ones that aren't so well received by everyone else. And the ones I hate, are the most well known and well loved. This movie is the strongest example of this. Deep Red is confusing, terribly hard to follow, and just plain boring. The pace crawls along l-i-k-e...t-h-i-s. Just like Suspiria, this movie starts with a bang and slowly dwindles away...along with your sanity. It's sad when I'm watching the DVD counter waiting for a film to end. I hated this movie. I think I'm going to start a scale based on how many fingers I would chop off just to never see this crap again. On the fingers scale, Deep Red gets a 7. That may sound harsh, but it's my honest opinion. But, my comments are to no avail because, just like I did, you will probably ignore the two negative comments and listen to everyone else and rent this movie.

#201 Deep Red (Italian: Profondo rosso) - 1975 (126 minute version) (This Film Rates a B ) The films starts off around Christmas and someone being stabbed to death off screen. Fast forward to a music ensemble practicing their jazzy tune. It then pans to a conference about parapsychology and features a medium named Helga. She has "extraordinary psychic powers". In dramatic fashion she predicts her own death by an unnamed person in the audience. Shortly after she is brutally murdered with a meat cleaver. One of the jazz members (Marcus) sees her being murdered and can't help but touch and move the body. He becomes a suspect and then is broadcasted that he could identify the murderer. The only initial connection is the children's music playing with each death. In an abandoned mansion, Marcus discovers a disturbing piece of artwork which shows a child holding a bloody knife after stabbing someone. Eventually he finds a skeleton corpse behind one of the walls. He gets knocked out and finds himself outside the house which is now burning. After all that, Marcus, is well enough to break into an elementary school where he finds a similar drawing. The killer is then revealed but dies in a horrific car accident. Who is the real killer? The twist ending is short and to the point but is a winner. The film is overlong but offers some effective build. Maybe the shorter dubbed version has a better pace. The killer is methodical and creates giallo type suspense. "He" also isn't always the main focus of the film which adds to the suspense. The artsy cinematography is really top notch and one of the biggest highlights that make this film successful. There are many fine examples of scenes and still shots that are so well crafted. The soundtrack is also superb, but what else would you expect from Goblin! No one can make murder sound so groovy! The electronic progressive rocks music fits each scene like a glove and makes the simplest scenes pop, it also gives them some texture. The gore and effects are decent for a film of this era but not extensive. It just feels like there isn't enough and at times felt empty. There is an awful fake bird scare at the 1 hour 1 minute mark. That poor bird! Mostly it is all the little details that make this film succeed.

A slaughtered psychic sets the scene, a vicious killer that can't be seen, but Marcus Daly's on the case, to unmask the villains face, it takes some time to follow clues, more red spills in shades and hues, an author takes an unplanned facial, it leaves her feeling far from glacial, a haunted house near derelict, it's still not easy to predict, help from Gianna and her small car, the end reminds of abattoirs.

Disgraceful lizard torture scene aside (appalling if we're honest), this takes you on a fine old ride, with doubts aplenty about whodunit, the slices, cleaves, slashes and head splits. As engaging today as it ever was (apart from the lizard, which was always wrong).