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DEEP RED

DARIO ARGENTO'S MASTERPIECE STILL BURNS BRIGHT



★★★★★ (A Must-See)

Director: Dario Argento

1975


Not long ago, I showed Deep Red (also known as The Hatchet Murders) to my closest friend. As it started to play, he looked over at me as if I’d betrayed him and asked, “Is this dubbed?” Yes, ADR is used, but I promise that you, like my friend, will forget about such trivial things; and like my friend, you’ll be guessing who the killer is to the very end. Few horror films are as entertaining or have as many interesting characters as Deep Red, a giallo classic held tightly screwed by its incredible murder mystery. Argento’s strengths—the silky cinematography of Suspria, a trick-of-the-eye puzzle from The Bird With the Crystal Plumage, a likable protagonist à la Phenomena—are here in one perfectly paced horror film.

The general plot is this: After a professional pianist named Marcus Daly witnesses the murder of a prominent psychic, he becomes obsessed with finding the killer…and becomes an easy target in the process. As the murderer leaves bodies like breadcrumbs, Marcus begrudgingly joins forces with a hard-boiled reporter named Ms. Brezzi (Daria Nicolodi).

Giving you more information about the plot will ruin the film, so I’ll just list the things that make Deep Red so magical.



THE PROTAGONIST

Our hero is no James Bond. Marcus (David Hemmings) is an affable imp whose bad behavior is not taken seriously. Right away, we get Mr. Daly’s views on feminism when he reminds Ms. Brezzi about the differences between boys and girls: “It is a fundamental fact…women are weaker. Well, they’re gentler.” Because the man’s ego is so transparent, you can’t hold this against him, especially when Ms. Brezzi counterargues by promptly besting him in an arm-wrestling contest. This act wounds Marcus Daly’s pride so badly, he makes it clear he doesn’t want to see her again. By giving us a strong female character in Brezzi, Argento is laughing with us at Marcus.


There are other instances of our hero’s ignorance. When he finds out a friend is gay, he’s startled silent. Kudos to Argento for treating the transgender lover with respect even though a tongue-tied Marcus looks like he’s staring at a ghost. And yet, Daly’s fumbling perseverance endears him to us. No one but David Hemmings could have filled those shoes.


THE SCORE

The music by Italian rock band Goblin, is like Psycho’s score in that it’s as much a part of the movie as one of the characters. It’s a 70s, synth-heavy, toe-tapping piece that elevates Deep Red above all other giallo films, and gives John Carpenter’s compositions a run for their money. You’ll be humming Deep Red‘s music long after you’ve stopped watching (I purchased the soundtrack). There’s a reason why Argento worked with Goblin again on other films. This score’s got personality.

 

THE KILLS

Dario Argento is known for his unusual kills, and Deep Red doesn’t disappoint. Without giving too much away, most of the murders take place shortly after the victim hears a child singing. Knowing what we know after the first murder, we tense up whenever this music plays—never so much as when Marcus is composing on a piano late at night and hears the notes coming from somewhere inside his house. Some kills in Deep Red are downright terrifying, but the best part is when Argento is leading you up to them.

 

THE MYSTERY

Deep Red doesn’t waste your time—every scene is important. The movie is edited to perfection, taking us through unforgettable visuals and action up to the final showdown. You don’t even mind the requisite red herrings; you welcome any clue Marcus discovers on his way to the killer. Why is the child singing? Why did someone want the psychic dead? What does an abandoned mansion have to do with any of this? Suspense builds to one climax, and then another. From sound to music to direction, all the stars aligned for Deep Red, but this unpredictable mystery is why giallo contemporaries—and horror films in general—must bow down to it.





GENRES: Feminist-Friendly, Giallo, LGBTQ+, Serial Killer


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