#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – A psychic who can read minds picks up the thoughts of a murderer in the audience and soon becomes a victim. An English pianist gets involved in solving the murders, but finds many of his avenues of inquiry cut off by new murders, and he begins to wonder how the murderer can track his movements so closely.
Plot: A musician witnesses the murder of a famous psychic, and then teams up with a fiesty reporter to find the killer while evading attempts on their lives by the unseen killer bent on keeping a dark secret buried.
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|7.6/10 Votes: 32,319|
|7.9 Votes: 935 Popularity: 9.828|
A remarkable and breathtaking horror work, easily my favourite of a distinguished, exciting run Argento made at the peak of his career. Films like THIS provided stunning proof to people’s assertion the world over that he was the Italian Hitchcock. The soundtrack by Goblin is to be treasured. For both horror and thriller aficionados, well worth getting in the very best edition possible, and well worth rewatching. A master craftsman at the pinnacle of his artistry.
When a psychic is murdered after picking up the thoughts of a psychotic killer, Marcus Day is the only witness to the crime and sets about trying to figure out who is responsible. But he then finds that the killer is shadowing him and targeting anyone who files in to help his investigation.
Dario Argento’s Deep Red (AKA: Profundo Rosso/The Hatchet Murders) is rightly regarded as one of the leading lights of Giallo. Argento pitches Marcus Day (David Hemmings working from a splinter of Blow Up) into a rousing and visceral world of murder and mystery – and takes the viewers along as well! It doesn’t matter what time of day or night it is, Argento always has a sinister edge pulsing through his movie. The mystery element is also strong, including for first time viewers a cheeky opportunity to solve it very early on.
Painting it all in vivid coloured strokes, Argento unleashes a myriad of stylish sequences, adding in children’s toys and mannequins to further up the creep factor. Musically not all of it works, but the running children’s thematic motif works strikingly well. Negatively the dubbing is often iffy at best and some of the now infamous murder sequences veer close to comedy because the director allows them to be protracted.
Uncompromising, thrilling and striking, some quibbles aside, Deep Red is a very positive experience. 7.5/10
Deep Red is a simply brilliant masterpiece.
Profondo Rosso is really the gem among Argento’a work, a film that managed to revolutionize the giallo and at the same moment become the ultimate giallo at that. You may ask what is a giallo? Well, it is basically a genre that combines mystery and horror, so it is basically a violent triller. It is the most plausible and well written film of his career to date and is the film that introduced us to the music of Goblin, a group that has become world renowned for their work on such classics as Suspiria and Dawn of the Dead. But what is really brilliant about Profondo Rosso is that it is the first film we see Dario experiment and gain more confidence. His camera becomes more fluid and gains more movement and elegant, while the angles he chooses become more strange. He begins to pay more attention to color, submerging the film in deep reds and greens which makes this one a feast for the eyes. It is truly a beautiful film to behold, even when the killer’s victims are been stabbed and whatever else. Dario in this film also pays attention to architecture. Helga Ulmann’s apartment is lushly decorated in black and white marble, plants and also a star shaped table (we later learn she is Jewish so the star is in fact the Star of David). But the true masterpiece of the sets in Profondo Rosso is Dario’s replica of the bar in Edward Hopper’s Nighthawks. This is in a sense a homage to Edward, as is the school in the film which is called the Leonardo da Vinci. Dario incorporates the style of art nouveau into this film predominantly, which can be in seen the windows of the villa and Giordani’s apartment. And I’m not forgetting the black gloves, one of Argento’s trademarks. The Performances in Profondo Rosso are very good. David Hemmings and Dario Nicolodi provide great performances. Their chemistry is very evident and they are very believable. Hemmings is able to get across his character’s insecurities, especially in the scene where he arm wrestles Daria’s character. It is very clear that he is insecure about his masculinity, which is evident in the scene in Gianna’s car where the seat breaks and drops and so it seems that Gianna has become the bigger person, much to Marcus’ embarrassment. Daria puts in an excellent performance considering this was about only her third or fourth film. She definitely gets across Gianna’s independence which provide the film with some comedy. Gabrile Lavia is also good as the alcoholic Carlo, clearly getting across Carlo’s drunkenness with his constant movements, such as stumbling. Meril I found fantastic in the conference scene, especially when she says the line: “You have killed and you will kill again.” When she revolts back it is so realistic and her hand movements really make us believe she can sense evil in the room, like as though she is feeling the presence. This is Goblin’s first score and it is truly a masterpiece. The theme is brilliant and is really driving and fits the film perfectly. It is a really mesmerizing as is the infamous lullaby, a disturbing piece. Profondo Rosso is truly a brilliant piece of art. A great plot, fantastic music, breath-taking visuals, great performances and perfect direction. Not to be missed! 10/10
An artistic achievement.
One of Argento’s very best. He always struck me as a perfectionist from the way he framed his shots. One could almost call him the Kubrick of slasher flicks. He makes the environments just as much characters as the humans in the film; he captures everything, especially the deaths, like a portrait. His artistry in the genre is only matched by a few others. And this winds up becoming a great, gripping murder mystery that keeps you guessing to the very end. Argento toys with conventions, specifically in a scene where Marcus gets knocked out while looking around a building towards the end of the film, and the next shot shows him waking up outside of the house while it’s burning, and the camera slowly pans up to reveal his female reporter friend standing over him. In another, more predictable film, she would’ve been revealed to have knocked him out and possibly the killer of the picture, but instead she is merely revealed to have rescued him from the house and remains a protagonist to her untimely end. Of course, there’s a terrific soundtrack from Goblin that perfectly suits every scene it’s used in, but at the same time, Argento makes great use of silence when he wants to.
At over two hours long, your horror film better have either some interesting or developed characters. In Deep Red, Argento has both. David Hemmings gives an engaging performance as the protagonist. His reactions to what goes on around him are natural, and the viewer is sympathetic to his cause to get down to the truth. He understands that some secrets should be uncovered at any cost. As death slowly sucks up people in his world, he finds himself increasingly sucked into this impending nightmare behind him, like quicksand. We’re in his shoes because he reacts like us. Argento employs charming humor throughout the picture. Like Hitchcock, he understands the essence of entertaining his audience. Horror films don’t have to be all-dread all the time. The relationship between Hemmings’ protagonist and his female reporter friend are dealt with sensitively. She is portrayed as his equal. He relies on her to get places. She saves his life. She gets him to come out of his shell and admit his attraction to her. She’s spunky and has plenty of personality to make us believe she could be a reporter in reality. When the big revelation reveals itself at the end of the film, suddenly the entire mystery comes full-circle to the opening shot, and we’re left with one hell of a bang. The final shot represents the sort of feeling one gets when they come face-to-face with a point in their lives that shakes them to their very core. What’s next, and where do I go from here? How do I cope with what I just experienced? Argento offers no easy answers, he just sits back like a madman amused by what he just put his viewers through. At least, that’s the sense I get from watching his expertly crafted work.
Original Language it
Runtime 2 hr 7 min (127 min), 1 hr 41 min (101 min) (R-rated) (USA), 1 hr 45 min (105 min) (export)
Genre Horror, Mystery, Thriller
Director Dario Argento
Writer Dario Argento, Bernardino Zapponi
Actors David Hemmings, Daria Nicolodi, Gabriele Lavia, Macha Méril
Awards 1 win & 2 nominations.
Production Company Rizzoli Film, Seda Spettacoli
Sound Mix Mono, 4-Track Stereo (Japan theatrical release)
Aspect Ratio 2.35 : 1
Laboratory Luciano Vittori, Roma, Italy
Film Length N/A
Negative Format 35 mm (Eastman 100T 5247)
Cinematographic Process Techniscope
Printed Film Format 35 mm (anamorphic)