Horror / Mystery / Thriller

IMDb Rating 7 10 13965

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Uploaded By: FREEMAN
May 21, 2019 at 04:44 AM



Dario Argento as Narrator
William McNamara as Stefano
Ian Charleson as Marco
Urbano Barberini as Inspector Alan Santini
720p.BLU 1080p.BLU
926.28 MB
English 2.0
23.976 fps
1 hr 47 min
P/S 3 / 3
1.73 GB
English 2.0
23.976 fps
1 hr 47 min
P/S 2 / 7

Movie Reviews

Reviewed by Polaris_DiB 4 / 10

Decent production, poor motivation

I'm new to Argento's work, and if this and Suspiria are any indication, then Argento is much more a filmmaker of experience than story. In his films, characters are placed in grueling and mesmerizing horror contexts that literally saturate the logic of the world around them. The camera literally flows gracefully through sets as the characters run, stumble, and choke their way to an eventual horrifying conclusion. It worked, REALLY well, in Suspiria. For some reason it didn't work here.

The problem I see with this movie is that even though the protagonist "gets help" by way of contacting the police and asking for help from her friends, it still feels as if she refuses to "get help" in terms of actually trying to find a solution to her problem. The entrapment in this film is that she's trapped in the killer's little game, one that she could easily get out of by... not setting herself up so easily? In a weird way it seems like the character wants the torture the killer gives her, which in a way is the point and could have worked except that the whole psychology of it is thrown about mostly due to whatever Argento feels like doing.

As a loving homage to "The Phantom of the Opera", it's certainly an interesting and unique take. For all his worth, Argento delights in operatic movements as well, which well highlights the action. It just doesn't make much sense, especially as it delves further into a completely useless ending (yes, I know it's a reference to Harris' novel "Red Dragon". No, it didn't work). Why the character should go from one horrifying experience of entrapment to a willing one with the director is beyond me. It felt almost self-serving on Argento's part.

Overall, a fun experience, and between this and Suspiria I'm more than willing to follow up on more Argento productions. But this is not a movie I'd want to return to or remember.


Reviewed by jhb4 5 / 10

The best and worst of Argento

I understand that to truly appreciate Argento, you must check your sense of logic at the door. Suspiria and Deep Red are wonderfully inventive, creepy, frightening, etc. movies. That being said, Opera only rates a 5 in my book for what it should have been. With a better script, no inappropriate/silly heavy metal music, and a more coherent plot, Opera would be one of the greatest horror films of all time. As it stands, it is merely a good-looking misstep. The production values are superb, the camera-work and cinematography is near genius (the bullet through the door! the shots of the heroine with needles under her eyes! the sickening violence! the crows!). But the aforementioned mistakes dragged Opera down much further than the subject matter and visuals deserve.

Reviewed by sortofsatan 8 / 10

Betty is not an entirely normal girl

I've noticed that a lot of people are taking Opera to task for the way Betty reacts to the murders. I think they are basing these complaints on how they imagine a "normal" person would react. The thing is...Betty is not a "normal" person, due to traumatic events in her childhood. She has problems way way before the movie ever even starts...and by the end of Opera...in my opinion...she has become totally unhinged.

---------------------SPOILERS--------------------------------------- You have to keep in mind that when she was a very small child she witnessed her mother's lover commit at least one brutal murder while her sadomasochist mother was getting off watching it.

She was raised by a woman who achieves sexual release tied up watching girls get hacked, slashed, and strangled to death. That does not make for a healthy home life. I think it's pretty easy to conclude that her mother would have employed all sorts of emotional manipulation and negative reinforcement to ensure that her daughter never snitched on her. It is also likely that at her impressionable age, Betty might have been deeply confused by what she saw. Is this just something that adults do, etc.

Betty obviously looks up to her mother...I mean...she's become an opera singer just like her. If mommy likes it it can't be bad, can it...mommy can't be bad, can she? She couldn't tell the police on her mommy or this mysterious hooded fellow she associates with mommy.

Betty has a lot of deep-seated emotional issues. Her mind has for years been trying to block out the memory of what she saw her mother doing...but it keeps coming to the surface, manifesting itself in the form of horrible nightmares, skull-throbbing migraines, a dependence on relaxation techniques, and sexual frigidity She associates brutal violence/bloody death with sex on a subconscious level. There's an inner struggle between the part of Betty that has confused murder/sex and the part of her which believes these things to be wrong.

After she's seen her boyfriend murdered by the hooded man...she calls the police, yet is unwilling to give her name. The part of her that thinks murder is wrong forces her to make the call, but the part that is ambivalent won't allow her to admit personal involvement. The ambivalent part of her takes control before she can go all the way. So she walks away from the phone in the rain...and when she's picked up by the director she's acting surprisingly calm, not as upset as you would think a "normal" person would be...because the part of her that's been blocking stuff since she was a child is trying its damnedest to block the horror of what she's just witnessed.

The state of affairs in her life all contribute to an impasse within Betty's psyche. Her singing career is starting to bear fruit...she's going to be a great opera singer like her mother was. But is she going to become like her mother in all ways? In the darker ways? Or will she be able to make her own path? Add this to the re-emergence of the hooded man murdering everyone around her.

It's not until the hooded man kills Daria Nicolodi's character that Betty really takes an active role in defeating the killer. Here's someone who loves Betty, who's supported her wholeheartedly in her emerging career, who is in fact a maternal figure in Betty's life now since mommy's dead. Imagine how terrible it would be to lose your real mother and then to see the woman who is the closest thing you have to a mother get shot through the eyeball.

I could go on...but I won't. The main gist of what I'm saying is that the character of Betty is a lot more complex than most of the reviewers on here have been willing to acknowledge.

Opera is one of Argento's best...and not just for the visuals alone (although they are truly magnificent) and not just for the inventive murders (although they are). There is a depth here...and attention needs to be paid.

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