OPERA (Directed by Dario Argento-1988)

After the rather hit and miss Phenomena from 1984 I had my doubts about watching this. Many describe it as the last "proper" Argento film and many rank it alongside Phenomena and Inferno as being slightly misunderstood. Well I think both of those claims are true as I was quite surprised and more than a little bit inspired by this film. If you are familiar with his work you will already know that Dario Argento's films of the late 70's and 80's (call them horror, call them Giallo. I just call them, as I'm sure, would Ron Burgundy, "classy") were quite a feast for the eyes and ears. Logic is thrown out of the window (probably screaming and blood soaked) the dizzying camerawork will probably make your jaw hit the floor and the music, more often than not performed by Argento's friends Goblin will stick in your head for days, whether you like it or not. Try watching 1982's Tenebre and not looking up the soundtrack album!
Opera takes the above and pushes everything into overdrive, though this time the film is interspersed with some really obscure 80's hair metal that when played back to back with the films wonderfully orchestrated opera score, doesn't always work.
Anyway....this is Argento's first attempt at remaking The Phantom Of The Opera. Though it plays very much by it's own rules. Argento first timer and Extremely charismatic (ok I may as well have just said attractive) Cristina Marsillach plays Betty, who is offered the lead in the "opera" though is terrified that a curse hangs over anyone who plays the role.
.....And she's right! She becomes the target of a mysterious killer who, basically we all know from the start has to be someone involved in the theatre production, and amidst having her eyelids pinned open so she can witness two of the unusually bloody murders (a moment of gore history is made here folks!) she teams up with her agent Myra (played by Argento's wife Dario Nicolodi) to solve the mystery. The scenes in which the killer is attempting to get into Betty's apartment whilst she drowns the noise out with her deafening relaxation tapes is awe inspiring and incredible in it's originality and just plain weirdness! Somewhere around here, Nicolodi gets shot in the eye when a slow motion bullet comes through the keyhole of the apartment. This really needs to be seen to be believed.
One of the key figures in this film, and one which shouldn't go unmentioned are the crows. During the final performance of the Opera the birds accidentally break free of their cage (which one can only assume they are in for some reason linked to the play. It's never explained) and fly throughout the opera house attacking the patrons. This is were Argento's cinematography really comes into it's own. The viewer feels as if the camera's unusual acrobats are being shot by the birds themselves. It's amazing stuff. And then there's the final ten minutes....!

So there you have it. I have now seen Opera. And it's rather wonderful. Though truly bizarre.

Note: Most versions of this film are now uncut. Arrow films and Blue Undergrounds dvd editions both look good, though for some reason the U.K Arrow disc calls the film "Terror at the Opera" though it's exactly the same film. I'm lucky enough to have a good friend who got drunk and accidentally ordered two copies of this film so I got mine free. Hence the review. Thanks Mark.