A newspaper reporter and a retired, blind journalist try to solve a series of killings connected to a pharmaceutical company's experimental, top-secret research projects and in so doing, both become targets of the killer.
A young man tries to help a teenage European girl who escaped from a clinic hospital after witnessing the murder of her parents by a serial killer and they try to find the killer before the killer finds them.
A psychic who can read minds picks up the thoughts of a murderer in the audience and soon becomes a victim. An English pianist gets involved in solving the murders, but finds many of his avenues of inquiry cut off by new murders, and he begins to wonder how the murderer can track his movements so closely.Written by
Ed Sutton <email@example.com>
The film's French title "Les Frissons de l'angoisse" means "The Shivers of Angst". The German title "Rosso - Die Farbe des Todes" means "Red - The Color of Death". See more »
When the camera is panning across the record player, when Marcus is playing the 'child's song', the stylus is silver whereas in the next shot when the record is stopped the stylus is completely different (a red one instead). See more »
It seems there are just some things you can't do seriously with liberated women.
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The opening credits are interrupted halfway through by a murder scene See more »
In the original theatrical version, the end credits are displayed over a shot of David Hemming's reflection in a pool of blood. The image is moving (blood drips into the pool, Hemming's face changes expression etc.) while the credits are displayed. The Anchor Bay R1 DVD version features the credits over a freeze-frame of the original scene. Other than this change, the Anchor Bay DVD is the full uncut version of the film See more »
As with other Argento giallos, the accent in "Deep Red" is on the visuals: the artsy sets, the garish lighting, the tendency for the camera to dwell on brutal details. Images are stark, with high contrast in lighting. And there's lots of visual symmetry. Emotionally, "Deep Red" is cold, entirely appropriate, given that the theme relates to the psychological coldness of a killer.
But unlike "Suspiria", wherein the story is almost irrelevant, "Deep Red" has an intriguing premise, with a plot that, although slow to get going, is nevertheless coherent, and builds to a riveting finale. I was quite surprised at who the killer was. Clues are very subtle, but they're there, if you know where to look. There's a nifty plot twist toward the film's end. I like the visuals in all of the Argento films I have seen. But "Deep Red", more than others, has a better developed story line. As such, the film is my second favorite Argento giallo. My personal favorite is "The Bird With The Crystal Plumage".
Weak dialogue and weak characterization permeate Argento's films. But his fans don't seem to mind. I certainly don't. What I did find annoying in "Deep Red" was the background music. Most viewers like the sound of Goblin. But to me, the music was too frantic, and not really suitable for a thriller.
There are few contemporary horror films that compare to those of Dario Argento. His giallos are: Gothic, brutal, impressionistic, artistic, and sometimes surreal. "Deep Red" is one of the best.
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