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Directed by | |||
| Dario Argento | |||
Writing credits(in alphabetical order) | ||
| Dario Argento | written by | |
| Bernardino Zapponi | screenplay | |
Produced by | |||
| Claudio Argento | .... | executive producer | |
| Salvatore Argento | .... | producer | |
Original Music by | |||
| Giorgio Gaslini | |||
| Goblin | |||
| Walter Martino | (as Goblin) | ||
| Fabio Pignatelli | (as Goblin) | ||
| Claudio Simonetti | (as Goblin) | ||
Cinematography by | |||
| Luigi Kuveiller | |||
Film Editing by | |||
| Franco Fraticelli | |||
Production Design by | |||
| Giuseppe Bassan | |||
Set Decoration by | |||
| Armando Mannini | |||
Costume Design by | |||
| Elena Mannini | |||
Makeup Department | |||
| Giuliano Laurenti | .... | makeup supervisor | |
| Giovanni Morosi | .... | makeup artist (as Gianni Morosi) | |
| Nicla Palombi | .... | hair stylist | |
Production Management | |||
| Carlo Cucchi | .... | assistant production manager | |
| Angelo Iacono | .... | production manager (as Angelo Jacono) | |
Second Unit Director or Assistant Director | |||
| Stefano Rolla | .... | assistant director | |
Art Department | |||
| Maurizio Garrone | .... | assistant to art director | |
| Aldo Taloni | .... | construction foreman | |
Sound Department | |||
| Nick Alexander | .... | sound editor | |
| Mario Faraoni | .... | sound recordist | |
| Eugenio Fiori | .... | boom operator (as Eugenio Fiore) | |
Special Effects by | |||
| Germano Natali | .... | special effects | |
| Carlo Rambaldi | .... | special effects | |
Stunts | |||
| Giorgio Ricci | .... | cinematic stunt team | |
Camera and Electrical Department | |||
| Antonio Annunziata | .... | assistant camera | |
| Francesco Bellomo | .... | still photographer: action stills (as Franco Bellomo) | |
| Sergio Coletta | .... | gaffer | |
| Sergio Emidi | .... | chief grip | |
| Ubaldo Terzano | .... | camera operator | |
| Antonio Tonti | .... | assistant camera | |
Costume and Wardrobe Department | |||
| Angela Viglino | .... | seamstress | |
Editorial Department | |||
| Piero Bozza | .... | assistant film editor (as Pietro Bozza) | |
| Rick Greenhead | .... | telecine colorist | |
Music Department | |||
| Agostino Marangolo | .... | musician: drums (as Goblin) | |
| Antonio Marangolo | .... | musician: piano (as Goblin) | |
| Walter Martino | .... | musician: drums | |
| Massimo Morante | .... | musician: guitar | |
| Fabio Pignatelli | .... | musician: bass guitar | |
| Claudio Simonetti | .... | musician: keyboards | |
Other crew | |||
| Luciano Anzellotti | .... | studio effects | |
| Carlo Du Bois | .... | production accountant | |
| Cesare Jacolucci | .... | production coordinator | |
| Ernesto Triunveri | .... | cutting room assistant | |
| Vivalda Vigorelli | .... | continuity | |
| Corrado Gaipa | .... | voice dubbing: Furio Meniconi (uncredited) | |
| Gino La Monica | .... | voice dubbing: David Hemmings (uncredited) | |
| Emanuela Rossi | .... | voice dubbing: Nicoletta Elmi (uncredited) | |
| Wanda Tettoni | .... | voice dubbing: Liana Del Balzo (uncredited) | |
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| L'uccello dalle piume di cristallo | Il gatto a nove code | Giornata nera per l'ariete | Reazione a catena | La tarantola dal ventre nero |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Horror section | IMDb Italy section |
With this film, Argento raised the bar for Giallo's. With it's spanning plot, complete with highly inventive ideas and intriguing theme; Profondo Rosso is an absolute highlight in the sub-genre. The film follows a female medium who, while giving a lecture, senses the presence of a murderer in the room that is transmitting murderous thoughts to her. Pretty soon after, she is brutally murdered by an unknown assassin, under the watchful eye of Mark (David Hemmings); a professional piano player. As you would expect from Giallo, Mark then takes it upon himself to get to the bottom of the murder and, along with a nosey female journalist (Daria Nicolodi), he conducts his own investigation. However, things are never that simple and aside from trying to solve the murder, he also finds himself being pursued by the maniac...will he be able to discover the truth before it's too late?
Profondo Rosso is, in the collective eyes of the horror fanatics, Argento's number two (Suspiria being number one). I don't actually agree with that; as I think that Tenebre, Opera and Bird With the Crystal Plumage belong in front of this one, but Profondo Rosso is definitely up there, so who am I to complain? This film features a lot more bloodshed than anything Argento had made previously, and that is definitely a good thing. However, the plot does slow down at times, and it's not paced as well as Bird with the Crystal Plumage is. It's also somewhat wayward, with it spending lots of time on certain things, such as the investigation in the haunted house, and not a lot of time on other things that are just as important to the mystery. Despite there being quite a few death scenes, I do feel that Argento would have been better served either adding another one to increase the excitement, or maybe cutting the film down a little to make it run more smoothly. The murders that Dario does give us, however, are brutal to say the least! We've got a woman burned to death in a bath of scolding water, another woman smashed through a glass window, a man having his teeth smashed against a table (not too dissimilar to the 'curb' scene in American History X) and, of course, the final death, which has to be seen to be believed - an amazingly over the top scenario to say the least!
David Hemmings take the lead role in Profondo Rosso, and does a very good job of it. Hemmings is, of course, most famous for his role in Blow-Up, and his role here isn't too different from that one. Starring alongside Hemmings is Daria Nicolodi, the actress that has starred in a number of Argento's films (Opera, Inferno and Tenebre to name three) and also collaborated with Argento on another fine creation. I'm sure you know who I'm talking about. Also getting in on the fun is Gabriele Lavia, whom Argento fans will remember from Inferno (also, curiously, called Carlo). Dario Argento's direction here is nothing short of sublime. His use of the camera is more than assured and some of the camera angles and images that are presented on screen are amazing. Dario Argento deserves every piece of praise that he gets and anyone that sees this film will not find it hard to see why.
Overall, Profondo Rosso ranks as an absolute must see. It's one of the finest Giallo's ever made and is a career highlight for everyone involved. Highly recommended viewing for all.