Opera (1987)

A young opperata is stalked by a deranged fan bent on killing the people associated with her to claim her for himself.

Director:

Dario Argento

Writers:

Dario Argento (story), Franco Ferrini (story)

Stars:

Cristina Marsillach, Ian Charleson, Urbano Barberini

4 nominations.

Cast

Cast overview, first billed only:
Cristina Marsillach	...	Betty
Ian Charleson	...	Marco
Urbano Barberini	...	Inspector Alan Santini
Daria Nicolodi	...	Mira
Coralina Cataldi-Tassoni	...	Giulia
Antonella Vitale	...	Marion
William McNamara	...	Stefano
Barbara Cupisti	...	Signora Albertini
Antonino Iuorio	...	Baddini (as Antonio Juorio)
Carola Stagnaro	...	Alma's mother
Francesca Cassola	...	Alma
Maurizio Garrone	...	Maurizio, the raven trainer
Cristina Giachino	...	Maria, the assistant director
György Gyõriványi	...	Miro
Bjorn Hammer	...	Cop #1

Storyline

A young opera singer (Betty) gets her big chance when the previous star of a production of Verdi's Macbeth is run over by a car. Convinced the opera is bad luck she accepts, and becomes the target (in Argento's unmistakable style) of a psychopath - a man she has been dreaming of since childhood.

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Plot Keywords:

giallo | psycho killer | peep hole | slasher | voyeur | 

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Taglines:

obsession. murder. madness.

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Genres:

Horror | Mystery | Thriller

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Motion Picture Rating (MPAA)

Rated R for strong terror and violence, and for a scene of sensuality

Details

Country:

Italy

Language:

Italian

Release Date:

19 December 1987 (Italy)

Also Known As:

Opera

Filming Locations:

Incir De Paolis Studios, Rome, Lazio, Italy

Box Office

Budget:

$8,000,000 (estimated)

Company Credits

Production Co:

ADC Films, Cecchi Gori Group Tiger Cinematografica, RAI Radiotelevisione Italiana

Technical Specs

Runtime:

107 min 88 min (edited)

Sound Mix:

Dolby Stereo

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

Orion, the American distributor of the film, wanted Argento to cut the final scenes in the Swiss countryside out of the film. Argento refused.

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Goofs

In the killer's POV shot entering the costume workshop, the camera and camera dolly are seen in a mirror on the right.

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Quotes

Betty: You bastard! Son of a bitch! You're not going to get me! You're not! I'll kill you!

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Alternate Versions

The recent Anchor Bay release is the unrated version, containing all the gore and violence.

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Connections

References Phantom of the Opera (1943)

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Soundtracks

Un bel dì vedremo
from "Madama Butterfly"
Composed by Giacomo Puccini
Performed by Mirella Freni
By Arrangement with PolyGram (as Poligram)

User Reviews

The last great giallo?

Beware the Scottish Play! In his riveting and harrowing Opera, Dario Argento returns to classic form, regaining the composure he lost while filming convoluted and delirious psycho- shockers like Tenebre and Phenomena. Indeed, predicated on a simple narrative that is offset by opulent set pieces, imaginatively brutal murder sequences, and refined photography, the film feels like the Argento we once knew. Opera's only real infraction is its lack of a score by Goblin, who provided unusual, iconic, and timeless music for many of Argento's greatest films (the opera selections used here are wonderful, however).

The production is filled out by several competent actors. While she's no Jessica Harper, Annabella Sciorra lookalike Cristina Marsillach manages enough pluck and compassion to grasp the role of the tortured heroine. Ian Charleson is interesting as horror-film-helmer- turned-opera-director Marco. And Daria Nicolodi is fantastic as always, even in her relatively brief role (watch the making of featurette on the DVD for a hilarious interview with Nicolodi about her role -- clearly brash and resentful over the end of her relationship with Argento!) Fans of Stage Fright (another excellent 1987 giallo, directed by Michele Soavi, who served as the second unit director for Opera) will barely recognize the final girl from that film, Barbara Cupisti, as a stage manager here (I think it's the glasses that do it).

With me, it's often the little things that matter, and Argento's fascination/obsession with solitary nightmarish images makes him my ideal filmmaker. Opera is full of minor details that left me smirking. For instance, I love that we never see "The Great" Mara Czekova's face. I also love the scene where the killer is scraping the tip of his/her deadly sharp dagger across a television screen showing Betty's performance as Lady Macbeth. Finally, I defy even the most grizzled slasher veterans not to cringe as the "pin grates" are placed over Betty's eyes.

In short, Opera is a clean, tense, and taut thriller. With its solid performances, lucid focus, and literate cinematography, it begs to be in the same league as Deep Red and The Bird With the Crystal Plumage. Might Opera be the last great giallo?