Motive for the killer) that are rooted in the giallo. Should we, but he does throw in some flourishes (black gloves, psycho-sexual Argento does not care a lick about the story here and neither What Opera is not is a straight giallo the very subgenre Argento helped Italian horror to be: exercises in style over substance where style is the substance. But it looks really damn cool even if it is utterly pointless.

House interior seen through the reflection of a raven’s eye. Opera is the kind of film that opens with a shot of an opera People could get behind as a transcendent art-house horror film. Much like Suspiria, Argento is being reallyĬourse we could say that about a lot of Italian horror films, but Opera in particular feels like something Off) however, they both share that they’re utterly, truly trying to be artįilms that masquerade as horror films. (a swap of Goblin for shitty ‘80s metal is the first thing that will tip you Don’t get me wrong, Opera isn’t even close to being the Of neon and shadows and Goblin found in his 1977 masterpiece Suspria (and in some cases Inferno). Viewer is bombarded with an excessiveness that can only be compared to the onslaught This isĪrgento at his most gloriously indulgent visually and aurally throughout, the Time just why we rushed out to see whatever their name was attached to.

A swan song of sorts for an aging diva a final showcaseįor a once great entertainer (with hindsight we say this) to remind us one last Operatic in its aesthetics, this is the Italian maestro’s most

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