“I think it's unwise to use movies as a guide for reality. Don't you?
Depends what you mean by reality.”
Opera (1987) dir. Dario Argento
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1986 Armani commercial
directed by Martin Scorsese, photography by Néstor Almendros
la mano... la mano
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cristina marsillach in opera (1987) dir. dario argento
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Movie Review | Opera (Argento, 1987)
Gave this a rewatch because I'm in an Argento mood. It might be my least favourite from his prime period, but his prime period fucking rules so it's still pretty good. More than usual he seems disinterested in the particulars of the plot other than an excuse for elaborate, inventive, stylish set pieces, but it's Argento so those set pieces are pretty fucking elaborate, inventive and stylish. (Highlights include a bullet through a peephole and swooping raven-cam.) It feels weird to say this given some of Argento's later work, but this movie isn't perverted enough to really invest in the killer's motivations. You could switch them out for anything else and the end product wouldn't be much different. All you need is an excuse to kill people and make the heroine watch.
I just rewatched Phenomena the previous day, and where that one does get a distinct semi-cozy, semi-eerie vibe from its Swiss boarding school setting, this one doesn't milk its opera setting for any particular atmosphere. (Like Phenomena, this also features heavy metal on the soundtrack. It's incorporated a bit more seamlessly, but the song selection is weaker, trading Motorhead and Iron Maiden for Steel Grave, so it's a wash.) The only narrative element that seems to interest Argento specifically is the contrast between opera traditions and modernity, manifesting in both the high tech production of the opera itself (foregrounding the elaborateness of the film's technique) and the relative incongruity of guns in a giallo. I don't think this savours the presences of its stars as much as Argento's other films during his prime era, perhaps because the actors here are less recognizable, but I thought Cristina Marsillach was an effectively empathetic lead, and I'm always happy to see my friends Daria Nicolodi and Michele Soavi show up.
Some of my comments here sound a little backhanded, but I still like this quite a bit, as the sheer muscularity of Argento's direction goes a long way. Also, I mentioned that lately I've been more affected by graphic violence in movies, and this was no different. Despite having seen this before, there are a few acts in this, perhaps because of the specificity of their sadism (needles under eyelids, knives to the hands, a torso cut open like fabric) that still got a jolt out of me. But on a lighter note, I did like how at the end the heroine frees the cute little lizard that's trapped under a twig. Just a nice, heartwarming note to end this story of relentless bloodshed on.
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