Deep Red (Profondo rosso)1975
Deep Red (Profondo rosso) (1975)
Critic Consensus: The kinetic camerawork and brutal over-the-top gore that made Dario Argento famous is on full display, but the addition of a compelling, complex story makes Deep Red a masterpiece.
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Critic Reviews for Deep Red (Profondo rosso)
Director Dario Argento provokes excruciating suspense but gets carried away with bloody flourishes. As ever, Hemmings is awfully convincing.
Argento, who's no Hitchcock, manufactures suspense with flashy camerawork, loud noises and pounding music. Then, all is garnished generously with gore. Credibility, which comes in a distant second, flies out the window in the process.
Not one for the children [or] the squeamish, and not very subtle, but nice and ghastly.
very good, but also distinctly trashy, as the elegant art gallery in a Helga's home hides a cleaver-wielding presence determined to paint and repaint everything deep red.
Operating under the principle that a moving camera is always better than a static one, and not above throwing in a terrifying evil doll, Deep Red showcases the technical bravado and loopy shock tactics that made Argento famous.
Audience Reviews for Deep Red (Profondo rosso)
Marc: Gianna! Gianna! There's someone in the house... absolutely trying to kill me, ya'know? "You will NEVER forget it!!!" First off, I'm not going to act like I know a lot about Dario Argento or his films. To this point of my life, the only films I have seen of his are Suspiria and now, Deep Red. Both of which are touted as his best. I liked Suspiria a lot more than I did Deep Red, but this film isn't without its merits. I'm sure hardcore Argento fans could tell me why Deep Red is so widely loved, but I don't really see it. Sure there's a lot to take away from it. There's some great kill scenes and some really stylish work, but kills and style have never completely won me over. Deep Red seems to be missing something for me to think of it as one of the best slasher horror films ever. Maybe I'm missing something. I guy named Marcus witnesses the killing of a famous psychic who saw into the mind of the killer. Marcus then teams up with a journalist to find the murderer. It's more a detective story then a true slasher film, and there's nothing wrong with that. Argento always knows when to bump up the tension and there are numerous creepy images including dolls hanging from the ceiling and a wind up, mannequin-ish boy that walks across the room. Where this movie differs from Suspiria is with the atmosphere. I felt that it was lacking the great atmosphere of Suspiria. It may sound like I really hated this film, but I actually enjoyed it. I just fail to see why it has been praised as one of the best ever. It's a good, solid, classic horror film, but it isn't the best. Maybe I'll revisit it in ten years or so after seeing most of Argento's films and I'll have a new appreciation for it. To this point though, I just don't see it. I won't deny that it is completely interesting though. There's some really cool camera work and some great ideas. I loved the usage of the whole, "I saw a painting that disappeared" aspect of the film. Sure it had its whole symbolic usage, but it also lead to the amazing finish and the coolest kill of all. Maybe I don't see why this is so highly acclaimed, but I do see the interest in it. I didn't love it like I thought I would, but I still liked it enough. It's quite possible that I expected to much. I was blown away by Suspiria and I had been led to believe that Deep Red was even better. Maybe with more viewings, I will like Deep Red more than I did the first time, but I guarantee I will never like it more then Suspiria.
A minor masterpiece of 70's horror. Like Suspiria, Argento turns the genre upside down with his bright colors and well lit sets, a technique that brings fear out of the shadows and sets it squarely in your lap.
Practically pitch-perfect in execution, Deep Red engrosses us in a suspenseful mystery where, as in classic thrillers, the camera lingers on a clue that the main character is oblivious to. In this case, it's a paint chip that unpeels to reveal another malevolent figure in a children's drawing. Hemmings is thankfully not a brutish gumshoe, he is a non-virile pianist who cannot win an arm-wrestling contest with a willowy woman. The imaginatively sickening death scenes drip with the licorice-red karyo syrup of Gothic giallos. A teeth-bludgeoning scene is unsettling to watch and while the final kill might seem schematic and contrived, its payoff is grotesquely jaw-dropping and doesn't reek of being overly composed. A true Italian horror masterpiece with nightmarish images in spades.
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