Rojo oscuro
Profondo rosso
Deep Red
Director:
Dario ArgentoGuión:
Dario ArgentoCámara:
Luigi KuveillerReparto:
David Hemmings, Daria Nicolodi, Gabriele Lavia, Macha Méril, Clara Calamai, Dario Argento, Salvatore Baccaro, Attilio Dottesio, Bruno Di Luia (más)Sinopsis(1)
Roma. Durante una exhibición pública de sus facultades una famosa médium sintoniza con una mente criminal. Mientras tanto, al fondo de la sala, una figura misteriosa abandona su asiento. Posteriormente, Mark, un pianista de jazz inglés y vecino de la parapsicóloga, contempla atónito desde la calle cómo una figura desconocida estrella la cabeza de su vecina contra la ventana de su apartamento. Sin quererlo Mark sigue la pista del sádico asesino, dando inicio a la peor de sus pesadillas. (A Contracorriente Films)
(más)Videos (1)
Reseñas (4)
La atmósfera de Rojo oscuro de Argento es sólida, el misterio que rodea al personaje del asesino podría cortarse en pedazos, y la fotografía, aunque no llega a la extravagancia visual de punta de Terror en la ópera, también es estupenda. Pero algunas escenas, incluyendo el mal manejado clímax, se sentían extrañamente editadas. Los 126 minutos de un ritmo bastante lento con sólo tres asesinatos tampoco ayudan mucho a la película. Si durara 100 minutos, le daría 4 estrellas.
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The scenes with the masked killer are top-notch and the twist and the original concept also deserve thumbs up, but couldn’t it have been 15 minutes shorter? Argento often doesn’t give a toss about pace and some scenes are excessively long, which is a real shame for such a strong and impressive film. It’s enough for 4*, but I don’t think I’m willing to watch it again. 75%
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You have to acknowledge Argento’s excellent feeling for visuals, but in the other categories he is not that good. The main storyline has several very naive moments (and incredibly funny comedy reliefs that are supposed to move the investigation forward) and it’s overstretched to two hours – a shorter runtime wouldn’t hurt, really. On top of that, the few murders aren’t very satisfactory, there’s not much gore, the blood looks like light ketchup, etc. Good for the fans of Giallo, but with reservations. Horror movie of the year
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The object of Argento’s psychoanalytical interest is deceptively not the murderer (whom the protagonists search for as if they didn’t even want to find him), but Hemmings’s sensitive pianist. He is effeminate and repeatedly humiliated by his partner, and he constantly struggles with his own dark desires and rages, which are manifested in the person of Carl (who is literally the opposite of the protagonist: in a group scene, one wears black trousers and a white shirt, the other wears white trousers and a black shirt). There are a few mandatory gore scenes, which of course are always followed by a sadistically long and brilliantly conceived overture by Goblin. With its aesthetic qualities, Deep Red will please even the more voracious horror fans. While I survived Blow-Up, I enjoyed its less self-absorbed alternative for the second time. 85%
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Galería (116)
Foto © Rizzoli Film
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