Rating: 
Summary: Argento's grand giallo
Review: I really couldn't tell you why I have yet to watch every film in Dario Argento's filmography, but by watching "Deep Red," I am finally starting to make some inroads into his body of work. It was easy to claim ignorance of many of this Italian director's important works a few years ago because it was difficult to find them anywhere, let alone in an uncut form. Fortunately, DVD arrived on the scene and eager film fans with dollars to spend inspired numerous companies to start churning out any movie they could get their hands. Even Troma, the flagship of flaccid filmmaking, released a so-so version of Argento's "The Stendhal Syndrome." It wasn't too long before practically every Argento film arrived on store shelves, many of them in uncut, unrated formats. Unfortunately, most viewers have most likely never heard of Dario Argento. These days, more people are familiar with the director's beautiful daughter Asia than with the horror maestro himself. What a shame. Argento's films, at least the ones I have seen, are masterpieces of style injected with truly cringe inducing violence. For a few years in the 1980s and 1990s, Argento drifted away from his tried and true giallo formula, only recently returning to some semblance of form with "Stendhal" and "Sleepless." "Deep Red" is Argento firmly entrenched in his giallo prime, a movie loaded with black-gloved killings, intricate plot twists and turns, and atmosphere so think you can cut it with a knife. Starring David Hemmings (who recently passed away) and Dario's real life squeeze Daria Nicolodi, "Deep Red" continually reminded me of his first picture, "The Bird With the Crystal Plumage" because Argento presents with essentially the same set up. This time around we have American jazz musician Marcus Daly (Hemmings) witnessing the gruesome murder of his psychic neighbor in an apartment building. Intrigued, Daly starts to investigate the crime and soon runs into a chatty Italian journalist named Gianna (Nicolodi). Predictably, he soon runs into trouble with the local cops and comes to suspect that the murderer is looking to have a good old face to face meeting with the man who witnessed his bloody work. Daly must attempt to put the pieces of the crime together if he wishes to save his life, a process that becomes problematic as he deals with the blundering interference of Gianna. You know Daly will solve the crime by identifying the killer, and you know Argento will take you on the most roundabout way to that end, but that doesn't lessen the fun in getting there. That creepy, abandoned house where Daly must go to discover vital clues to the killer's identity towards the end is only the last eerie set piece in a film loaded with them. I now understand why "Deep Red" is a cult classic and considered one of the premier giallo films. The gore here is standout stuff, and, let's face it, that's one thing we all want to see in an Argento film. There's a few stabbings, of course, but there are also scenes virtually insuring a good cringe. A face dunked in boiling water, a horrific death involving a head bashed against sharp furniture corners (!!), a seriously bizarre decapitation, and a head crushed under a tire (I've seen a few of these lately in several different films, disturbingly enough) all take place in graphic, stomach churning close up. I noticed that Argento recycled a few of things seen here in "Sleepless," but that in no way mitigates the grisly effect of them in "Deep Red." Humorous scenes, such as Daly's attempts to adjust his body to the contours of Gianna's decrepit car, provide a necessary breather between gore sequences but the high sauce content in the movie still got under my skin. Moreover, Argento marries the atrocities with frequently clever clues that help move the plot along. For example, the scalding scene sees the victim using a finger to leave a message on the steamed up wall of the bathroom before death sets in. Obviously, for anyone to see the message again the bathroom must be filled with steam. Neat little tricks like this one make me want to hug Argento if I ever meet the guy because these flourishes make "Deep Red" light years better than most of the junk out there today. The movie couldn't get any better than it is already, right? Wrong. Goblin scored this Argento giallo, marking the start of a lengthy collaboration. A soundtrack for a film that has as its main character a jazz musician better go far beyond the merely good. In fact, the background music here is downright ominous times ten. Goblin gives the movie a sort of wacked out synthesized sound; a thumping, rollicking beat that ratchets up certain scenes of tension to an unbearable level. As I watched the film, I kept wishing other movies would achieve such a wonderful marriage of what you see and what you hear. Almost everything comes together in "Deep Red": the vicious gore scenes, the involved plot, and the background music all meld together into a truly enjoyable outing. The only problem I had with the movie, and one I have seen mentioned by other viewers, is the occasionally plodding pace of the film. Remember, this DVD gives you the uncut, two-hour plus version of Argento's masterwork, so it is quite lengthy. The other reviewers are correct to take the director to task for this minor flaw, as several scenes feel superfluous to the general scope of the film. Having said this, I will still take this movie over most of the crud foisted on the public today because the pluses totally overwhelm the negatives in this picture. A must see for horror fans, "Deep Red" would also provide a good starting point for the Argento newbie. You will love it.
Rating:
Summary: A GREAT MASTERPIECE!!!!
Review: This is my favorite Dario Argento`s film. The colors, the suspense, the story, the camera works and the murder scenes in which you really believe to be victim or the murderer are just fabulous. It gives the idea that you are part of the story. This is probably something that is missing these days or never existed in the american style thrillers. The score from the Goblins is probably one of the best for this kind of movie and it keeps you in a very frightening mood. The acting is funny, the team Daria Nicolodi/David Hemmings is one of the best i`ve ever seen. They really seem to enjoy doing this film. Even if you are not a Dario Argento`s fans, this picture will impress you!!!!
Rating: 
Summary: Stylish, but not altogether scary.
Review: Let me begin by stating that stylistically this film approaches art. Others have noted that Argento is the "Italian Hitchcock," and while there are plenty of Hitchcock-like elements, such a title is really too limiting. Argento was not afraid to steal good ideas. Hitchcock can be seen in his camera angles during knife attacks, his first-person murder viewpoint, the steamy attack in a bathroom, the death of the attacking bird, etc,; Hopper inspired a life-size version of his painting "Nighthawks" in the middle of an Italian piazza; Munch can be seen in the paintings on the wall; and Sergio Leone (whom Argento worked with on the great "Once Upon a Time in the West") definitely impacted Argento's sweeping panoramic shots. Together they add up to a fantastically stylish production that is unique to the horror genre. The incongrous mixture of beauty and death makes the film that much more macabre. I especially enjoyed the bright red that marks the parapsychology conference and the blue of the bathroom scene. Argento's choice of Goblin to perform the music was a risky, yet inspired, one. In their soundtrack you can easily hear the strains of the music that would one day make the movie Halloween one of the scariest ever made. Repetitive and intense, it almost becomes a character in the movie, driving the action forward. That being said, at times the band overplayed it's hand, if you will. There are several scenes where the music becomes too loud and verges on annoying. Still, it is worth a listen. Now for the down part: while Argento was a masterful director, I personally found the plotline to be a bit cheesy and was never scared or anxious during the entire movie. Perhaps it is years of escalating violence in horror movies, but the murder scenes seemed almost trite, and the suspense was second rate. Hemmings was wonderful as the protagonist -- a man driven by his need to find the truth about what he's seen, but the violence he encounters is more gory than scary. The minor characters are either Felliniesqe (Gallo's gay lover) or bumbling (the police). In the end, I was neither surprised to discover the killer or interested in their comeuppence. So take this film for what it is worth -- a new art in making horror films that would impact many movies to follow. Enjoy the direction, but don't expect too much of the plot.
Rating: 
Summary: Get A life
Review: What's with giallo hype? These Italian thillers are a load dog doo, what kind freak would find these boring, slow, too long crap piles brilliant? (answer) the kind of freak who finds Scooby Doo thrilling. Dario Argento is one crap director all this bull about him being stylish director and than his movies are scary, your kiiding me, this guy is just another hack from Italy.
Rating:
Summary: This movie scared me for the rest of my life !
Review: This is the scariest movie I have ever seen. Period.
Rating:
Summary: Dario, Hitchcock-style
Review: Rather than go into the plot of the movie, which a lot of the reviews already have done (and probably much better than I ever could), I'd like to discuss a little bit about what makes Deep Red so good, and why if you haven't seen it, you should. Dario Argento has been described as the Italian Hitchcock. If you're a Hitchcock fan like me, then you're thinking one word: blasphemy! Hold on there just one minute, tiger. Before we jump to conclusions, let's check out Deep Red. The cool thing about Dario is that he uses the camera to trick you. In this way, it's better to compare him with Brian De Palma. In their thrillers (think De Palma's Dressed to Kill), they use the camera to show you something, but by the end of their films, you realize what you thought you saw was something else entirely. This is the case with Deep Red. David Hemmings, playing a jazz singer who gets caught up in a web of murder and intrigue (sound like a Hitchcock movie yet?) witnesses a brutal murder, but when he goes back to the scene of the crime, something seems different. Something is missing... Dario uses his camera to stage inventive and suspenseful scenes. The difference between Argento and Hitchcock is pretty big... Argento goes the Italian giallo way with the deaths. That is, he shows you EVERYTHING. In an Argento movie, murder is an art form. One woman is dispatched in a bathtub of boiling hot water. The camera remains stationary as the killer lifts the woman's head up just so we can see the flesh peeling off her face. Gruesome stuff. The mystery of Deep Red is engrossing. Hemmings goes around, finding clues, and tries to piece everything together. Eventually, he realizes what he really saw the night of the murder. Is the pay-off worth it? Almost. As with a lot of Argento thrillers, you can't help but wonder how the culprit could have actually done all the carnage he or she was supposed to. The performances in the movie are great. Hemmings works with Daria Nicolodi nicely, and we care about both of these characters. They are intelligent, charming, and funny. More Argento movies needed these types of characters a.k.a. someone we can relate to. Still, Deep Red is a cool ride with some interesting visuals. Say what you want about Argento, the man knows how to set-up a scene to look gorgeous. If you're looking for an involving thriller and are wondering why so many horror fans love Dario Argento, Deep Red is a great place to start finding out. Is he the Italian Hitchcock? Probably not. But he can make a darned entertaining film.
Rating:
Summary: Sophisticated Gore/Horror.
Review: I have only watched one other Argento film {Tenebre} before and decided to watch this one next. I'm not disappointed. I liked Deep Red more than Tenebre.
The build-up of tension in DR is astonishing. Aided by many red herrings, it's constantly trying *succeeding* to {mis}direct your expectations. Camera-work is very well done, as are the murders. There's also some refreshing humor--I thought it humor.
The two main characters were fun to watch.
There are people here at Amazon who thought this is Argento's best. Others share a different opinion. I seriously don't know who is telling the TRUTH, simply because I can't make a judgment after having seen only two of his creations. And besides, it's of little importance.
Finally, the soundtrack was quite nice.
--Buyer/watcher beware: Go for uncut/complete versions--or as complete as possible. Very fine film.
Rating:
Summary: Deep fun.
Review: Bloody, weird, and fun trip into Dario Argento's continuing obsessions. The fact that *Deep Red* is really little more than glossier, bigger-budget remake of Argento's earlier *The Bird with the Crystal Plumage* shouldn't be a deterrent, seeing as how *Plumage* was a minor masterpiece: a masterpiece enlarging upon a prior masterpiece, especially when they're both executed by one artist, is not the worst thing in the world. The art-house crowd will enjoy the presence of David Hemmings here, 10 years after Antonioni's *Blow-Up* from 1966. (Argento had written the movie with Hemmings in mind.) As in *Blow-Up*, the actor plays the role of a witness to a murder, though his expatriate jazz musician in *Deep Red* is a much more likeable and responsible fellow than Antonioni's photographer. But the movie veers from its pretentious inspiration and more closely follows Argento's own path: our hero takes in interest in the murder he witnessed, and puts his own life at risk as a result. (A la *Plumage*.) Along the way, there are many suspenseful, grisly, and downright artful moments to be savored -- wait till you see how one victim is dispatched in a bathroom --, together with highly inventive microscopic camera-work and, as always with Argento, an enthusiasm for tasteful art and architecture. *Deep Red* is probably Argento's best movie -- I deeply recommend it. Oh, and listen for the great music by Italian group *Goblin*. Their score is the one which John Carpenter ripped off for his own *Halloween*. [The DVD boasts that this is the "full-length director's cut". Notice they don't use the term "restored" -- this is because portions of the English dubbing on the audio have apparently been lost forever. Hence, the movie reverts to subtitling during the new additional scenes. This isn't as distracting as it sounds, unless you're a philistine who screams in horror at the presence of subtitles. Besides, it's an Italian film, and the reversion to the Italian language seems quite natural. Conversely, let me strenuously advise you NOT to watch the whole thing subtitled -- the guy who dubbed Hemmings' voice in Italian sounds like he ingested a balloon full of helium. By the way, the "new" scenes themselves are getting a bad rap, here. They add touches of quirky humor that does no harm to the movie as a whole.]
Rating: 
Summary: An Amazing Movie..try and see past the flaws
Review: Describing this movie as "Argentio's Masterpiece" is stretching the truth a bit in my opinion. Having said that, though, it stands well above so many other films in the horror/giallo style that it seems picky to find faults...but there are a few.
Firstly, the praise - Deep Red, for those who haven't seen it, is a mind blowing cinematic treat. Incredibly gory murders, convoluted plot, red herrings galore, this film has it all. Argento is one of the most stylish horror directors int the world. There are so many moments of jaw-dropping genius that it's impossible to list them. The print on this DVD looks absolutely gorgeous, with bright colours and crisp sharp widescreen presentation making it the best this movie has ever looked, certainly, I have never seen it looking this good.
It's also the longest version ever seen in English, and it's there that, sadly, the film's flaws start showing up. As other reviewers have mentioned, a lot of the inserted footage is all in Italian, so subtitles are provided whenever the characters suddenly switch languages...soemtimes in the middle of a conversation! This gets very annoying after a while. It would be ok if the missing scenes were crucial to understanding the bizarre mystery at the centre of the plot, but they aren't, they mostly show in more detail the blossoming comedy/romance relationship between Marc and Gianna, which may have been entertaining for Italian audiences, but does not enhance the experience of watching the film in English at all. Other missing scenes involve members of the police laughing at their own jokes , and people in cafes and streets chatting about inconsequential topics...hardly great additions!
I hate to say it, but it would have served the DVD edition better if these had been left out... a dual presentation that also offered the shorter version of the film totally in English would have been perfect. This is not to deter people from the film, but it is a shame that all the good work by Anchor Bay has resulted in a film that plays better for film completists than for a newcomer or casual horror fan.
Rating: 
Summary: Required viewing only
Review: To put Deep Red into perspective, it was this film that Dario Argento began to find his cinematic 'voice'. While his previous efforts such as co-writing 'Once Upon A Time In The West' to his Bava influenced animal giallos and his horrible political comedy 'Five Days In Milan' were daring in some respects...Deep Red provided for a film standard that he would continue to use as recently as Non Ho Sonno (Sleepless). While Deep Red is fairly coherent in comparison to other giallos at the time (Torso and Autopsy in particular), I did find some introduced plot twists that seemed to have died mid-stream in the film. For example:
1. Daria Nicolodi's role of the go-get 'em journalist seems awkward...her scenes with David Hemmings seem forced and bog down the film.
2. The killer's sexual orientation. This sub plot could have given the viewing audience insight into the killer's psychosis and/or feelings of social rejection.
3. The ESP/telepathy subject brought on early in the film was VERY interesting...only to die a solemn death.
I wouldn't call Deep Red a masterpiece but rather a sophomoric release even though it was the fifth film Argento worked on. While Argento was redefining 'art as violence', and it shows well here...his narratives were still in a stage of infancy.
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