Rating: 
Summary: Argento's Masterpiece
Review: Many years before Carpenter's Halloween and the Friday the 13th films ushered in the new wave of bloody horror slasher films in the United States; Italian film-makers like Mario Bava, and Dario Argento were re-inventing the horror genre. Argento updated and modernized the European horror film with a trilogy of films prior to Deep Red (Bird with the Crystal Plumage 1970, Cat O' Nine Tails 1971 and Four Flies on Grey Velvet - 1972). He was called the Italian Hitchcock with good reason. These films combined the horror and suspense of Hitchcock's The Birds - 1963 , Psycho - 1960 (and later Frenzy - 1972), with modern European attitudes, settings and generous amounts of gore. Like Hitchcock's Vertigo, the logic of many of these films' narrative plot were secondary to the emotional mood and visual poetry on display. The Argento films also explore psychology, parapsychology and/or cutting edge technology as well.Let me talk about a couple things not mentioned in reviews I've read. After the opening credits, we are at a conference discussing psychic ability and the paranormal. Later, when the Jazz pianist looks up at his apartment building, he witnesses his neighbor, the psychic at the conference, being savagely murdered. They seem to make eye contact. I suggest a psychic connection between the two has been made and it is this connection which affects the pianists behavior and is the reason he must solve the murder before he leaves the city. Later on he recalls when he ran into his neighbors apartment he believed he saw something, something which is later missing, he believes. Did he see anything at all, or was it a psychic impression which was implanted by his neighbor as they made eye contact? He reacts to hunches, and seems to almost have some sort of psychic ability later on in the film, though he refuses to completely acknowledge it. He knows almost instinctively there is something about the old house which holds an important clue to the murder. He goes to the house, but at first he doesn't find anything. He's trying too hard. Thinking too logically. It is only later that suddenly he realizes, almost psychically what he's missed and upon examining the picture he convinces himself his hunch is right and returns to the house to uncover a hidden room. His alcoholic colleague speaks at length to him about how sometimes the most trivial of things are the most important and the most important of things are often trivial. His colleague is drinking himself to death, though not talking about the demons which obviously haunt him. The female reporter talks to him about his nervous habits, which Hemmings wonderfully explains away as him being a sensitive artist and full of quirks. . . but doesn't his artistic sensitivities lend themselves to psychic ones? At first one might come away from the film thinking, why did they make David Hemmings a Jazz musician and then have him act like a private detective in trying to find the murderer? Why not have Hemmings be playing a burnt out former police detective whose hobby is jazz? Yet Florence is a European center for Jazz Artists, and as a sensitive artist type he would be more 'sensitive' to emotional and psychic vibrations. It's not important to your enjoyment of the film to share my feeling that Hemmings' character has discovered he is psychic without fulling being aware of it. . . butit might add an added depth to the film the next time you watch it. Please note the version you should watch is the 126 minute director's cut of the film which has been meticulously restored and is now distributed by Anchor Bay. The DVD has several added features. This restored cut uses all of the available English dubbed feature , but 28 minutes of the film are in Italian with English subtitles and it's a bit awkward if watching the dubbed (rather than the Italian language with English Subtitle version) when it switches from English to Italian and subtitles and then back again within the same scene. The English dubbed scenes that were cut for the American release no longer exist which is why it was necessary to present it this way. The previously U.S. released versions which run 98 minutes are to be avoided. The film does actually make narrative sense in it's full version, but will not in its truncated version. Part of the film plays on known fears. The violence shown is of a nature we are all somewhat familiar with and so has much more impact. We know what it's like to burn yourself with scalding hot water.... so a murder of a woman involving a bathtub full of scalding hot water is quite horrifying. Hitting yourself on the corner of a table, or a fireplace mantel is a sensation we know, so a scene where a man is slammed into several sharp corners is quite unsettling. Chris Jarmick Author of The Glass Cocoon with Serena F. Holder....
Rating:
Summary: Scary, Stylish, Superb
Review: A title that cannot miss in your Italian thriller collection! A movie that cannot be left unseen. A soundtrack that whips your spine cord. The ultimate masterpiece of Argento is a mixture of gore effects (last Italian work by Carlo "ET" Rambaldi), bedtime lullabies, screaming queens, supernatural atmosphere and memory games, supported by a perfect plot and a series of great Italian theatre actors whose only function in this film is to be killed in sequence, in a crescendo of ultraviolence.
The DVD edition of PROFONDO ROSSO is presented in widescreen 2.35:1 enhanced for 16x9 TVs, giving the audience all but the impression of a movie directed 27 years ago. The audio tracks are in Dolby Sorround 5.1, in Italian and in English, but portions of the English soundtrack were either never recorded or lost. These scenes are therefore presented in Italian with optional English subtitles. The extra features show the Italian and U.S. theatrical trailer and a featurette, 25th Anniversary, with an interview with director Dario Argento, writer Dardano Sacchetti and the Goblin, the group responsible for the nightmarish soundtrack which is part of the worldwide success of Argento's movie. Watch it alone, in the dark...
Rating: 
Summary: Argento has done better
Review: Though I truely wanted to like this film, I just had a hard time doing so. I usually like Argento films. I loved Suspiria, Inferno, and Phenomena and I read that Deep Red was one of his best, so I bought it. I for one thought this uncut version would be great, but it's actually the cut material spliced back in the film that hinders it, at least for me. The newly restored material was never dubbed, so through out the entire film we get little pieces here and there spliced in that are spoken Italian with subtitles. It's really annoying because the characters will be talking in English at one moment and then suddenlly halfway through their sentence, their voice changes sound and they are speaking Italian. I found this quite annoying and distracting because it takes you out of the film. Also most of the "new" restored material doesn't add a whole lot to the film. Most of it is just talking that adds really nothing new to the plot. I would have probably liked this film better if I saw the cut version, which is strange for me to say because I usually like "extended" versions of films. Overall Deep Red had plenty of style but little substance. I can see why die-hard Argento fans like this film because it is thick with his style, but for casual fans like me, we have seen him do much better. I for one found this film to drag and, should I dare say, get boring in some parts. People new to Argento are better to start off somewhere else.
Rating: 
Summary: An amazing movie
Review: Unlike many who have posted here, I HAVE seen the full 126minute version of Deep Red, on a badly copied conversion inpan-and-scan - and let me tell you, even in this form it was still one of the most exciting movies I think I've ever seen. Although a couple of decades of film has probably blunted the shock and gore elements, and all those character moments might make it seem slow, I promise you that this movie will freak you in ways few horror movies will. Dario Argento's reputation rests entirely on this film and Suspiria, but this one is the superior. All the best elements of his previous films are combined here - the protagonist who's seen something important he can't identify, killers with a fetish for black gloves, vague hints of the supernatural, gender transgression..... and of coursre the gore. Believe me, you'll think twice about checking the door locks after dark when you see what happens to Helga the psychic. Argento was never this suspenseful again, probably because Mark (the protagonist), like the audience, knows he has to solve the mystery before the killer will ever leave him alone. The DVD release of DEEP RED is a real event, and Goblin's score presented in Dolby Digital would be worth it all by itself! I can't wait until release day...........
Rating:
Summary: Dario Argento's best film!
Review: Deep Red (proffundo Rosso) is widely acclaimed as being one of the greatest of the Italian serial killer sub-genre, the so-called 'giallo' films, and not without reason. Argento ups the gore from his previous outings (Bird with the Crystal Plumage et al.) without compromising on the plot elements making this a more accessible film than Suspiria or Inferno, and an excellent introduction to Argento for those people not familiar with his work. Although the blood and gore might look a little dated, Deep Red contains some of the most brutal and inventive deaths of Argento's career, combined with a relentlessly suspenseful and spooky atmosphere. The theme tune by Italian rock group Goblin is one of the most effective horror themes of all time, combining a pulsating re-occuring bassline with a child-like lullaby chant, and really adds to the atmosphere. And perhaps surprisingly for an Argento film, the cast gives a fine performance led by the ever-competant David Hemmings. I would definitely recommend Deep Red to any fan of serial killer thrillers or detective films even if not familiar with Argento's work.
Rating: 
Summary: Better Than Fulci? No way.........
Review: I love Fulci's movies. In the past two years with the help of the internet and Amazon in particular, Ive pursued his work. I'd noticed though that he was completely overshadowed by some guy named Dario Argento......so I decided to check out the two films that are his so called masterpieces. Deep red offered nothing more than good shot composition and "OK" music. No real violence, horrible story line, but one creative death scene. ARGENTO'S NO FULCI!
Rating:
Summary: Superb restoration reveals the flaw in Argento's masterpiece
Review: First released in the US in a re-edited version running a mere 100 minutes, Dario Argento's seminal psycho-thriller "Deep Red" (Profondo Rosso, 1975) was quickly dismissed by critics as an incoherent mess. European fans outside Italy fared somewhat better - their version included five minutes of important exposition and character development, and restored all of the violence which had been trimmed from the American print. The 105 minute version is a masterpiece, a whirlwind of horror which is unleashed by David Hemmings' investigation into the murder of his psychic neighbor (Macha Meril) by person or persons unknown. All the elements of a classic Argento thriller are present: Eccentric characterisations, outlandish plot twists, and a series of Grand Guignol set-pieces which would set the standard for years to come. Anchor Bay's restoration of the complete Italian version is another matter altogether. Except for the extra material added to Hemmings' search of 'The House of the Screaming Child' (where an important clue is literally concealed in the brickwork), none of the additional material adds anything truly significant to the film and simply slows the pace down to a crawl. Whereas the characters were once defined by their experiences, now they become bogged down in dialogue scenes which are allowed to ramble well beyond the point of no return. These shortcomings are amplified in the English version of the film (which preserves Hemmings' distinctive voice and, by default, his terrific performance), where the additional scenes are presented in Italian with English subtitles, an unfortunate necessity which some viewers will find incredibly distracting. The original Italian soundtrack is also available on the disc, with subtitles throughout, and this is a much more satisfying experience, though it remains overlong and self-indulgent. But the true majesty of "Deep Red" remains inherent in Anchor Bay's anamorphic (2.35:1) DVD release. Except for minor print damage which appears as speckles on the far right of the image (99 minutes into the film and continuing for several minutes thereafter), the DVD print is bright, clean and beautiful. This was Argento's return to the giallo movie following his disastrous detour into comedy ("Le Cinque Giornate"), and the first time he was allowed to 'let rip' with cinematic abandon. The results are magnificent - camerawork, editing and production design conspire to turn the convoluted script into a baroque masterwork which thrives on offbeat imagery and chilling use of music: The child's song which pre-empts the shocking murders; the heart-stopping moment when Hemmings catches a glimpse of Meril at her apartment window, screaming soundlessly as the killer advances on her from behind, a shot which is both horrific and profoundly humane at the same time; the crazy-surreal mannikin which appears from nowhere and 'confronts' a potential victim; and the climactic revelation when Hemmings slots the final piece of the puzzle into place, thereby revealing the killer's true identity. There's a wealth of equally stunning images in this extraordinary film, even if Anchor Bay's definitive print reveals the tragic flaws in Argento's original vision. Look out for fine supporting performances, too, by Daria Nicolodi, Gabriele Lavia and Clara Calamai in pivotal roles. DVD running time: 126m 28s. The original mono soundtrack has been ditched in favor of 5.1 audio playback, but Argento's films have always benefitted from this kind of revision, and the results here are genuinely impressive. There's a couple of trailers and a short documentary on the film, dedicated to co-writer Bernardino Zapponi who died in February 2000. By the way, "Deep Red" contains the only questionable shot in Argento's entire filmography: The activities of a sadistic little girl are represented by a lizard with a needle driven through its body (for real). There's no excuse for it - Argento could have demonstrated the child's monstrous pathology in a thousand other ways.
Rating:
Summary: Still a great classic
Review: After thirty years from its original appearance in 1975, Profondo Rosso (as Deep Red is titled in Italian) is still an exciting movie to watch. Unlike many of Argento's subsequent movies, Deep Red's plot is very well constructed, and the careful viewer (well...the VERY careful viewer) can pick up at least two crucial clues. The first, in the very first minutes of the movie, is central to the plot, but it is very easy to miss. It makes for a nice challenge to the first time viewer. Deep Red marks, in my opinion, the highest level of Argento's work. The atmosphere of the movie is greatly enhanced by the first collaboration of Argento with the musical group Goblin. A great soundtrack. I saw this movie first when I was a young student. Now,I saw it again to keep me company during my weekly long run on the treadmill. It made the run exciting, and time just flew!
Rating:
Summary: The best ever!
Review: One of Argento's finest giallos ever! I just can't say enough about this movie! I am going to issue a 5 star rating to counter-balance the trolls who come here and post un-helpful reviews! Eat this!
Rating:
Summary: Things I Learned From Watching "Deep Red"
Review: 1. When you hear a child singing, you are about to die horribly.
2. When you see a woman being beaten to death with a meat cleaver, the most sensible course of action is to run immediately to the scene (preferably unarmed).
3. If you find yourself being chased around by a hatchet-wielding maniac, remember that elevators make good weapons.
4. Jazz pianists are unbelievably dim-witted. The thing to remember about Dario Argento's movies is that style is treated with more importance than plot or dialogue. "Deep Red" has little in the way of original plot (owing much to Antonioni's "Blow Up" or Argento's own "The Bird With The Crystal Plumage"), and some of the interaction between David Hemmings and Daria Nicolodi is painful to watch and listen to. The fact that the language sometimes switches back and forth between Italian and English in the middle of a scene is only a minor distraction, but it doesn't do much in the film's favour. I can't agree with those who describe this as Argento's best, but it's still a very entertaining couple of hours (probably closer to 3.5 stars). Inventive killings, several red herrings to keep the viewer on edge (including one which, admittedly, is so blindingly obvious that it made me wonder how Hemmings' character took so long to realise it himself - see point 4 above), and an underlying sense of malice running through the entire film make for an uncomfortable experience....but it's uncomfortable in a good way. A word of warning, though: if you're *too* perceptive, you'll know the killer's identity very early in the movie. It's a question of knowing where to look. Aside from the constant switching between languages, my only real gripe with the film would be its soundtrack. The music, by Goblin, is highly effective for some scenes, but in others (especially when Hemmings enters the House of Ghosts) it sounds like it's been lifted verbatim from "Tubular Bells" and at other times it sounds like a bad imitation of Emerson, Lake & Palmer. Having said that, I think the positives of "Deep Red" outweigh the negatives, and provide a good buildup for what I think was Argento's real masterpiece - "Deep Red"'s follow-up, "Suspiria".
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