Dario Argento's "Deep Red" Review & Analysis

Italian slasher gore-fest director Argento practically coined the film genre of Giallo (Italian for “Yellow,” although I am unsure of its roots), a leading figure in a cinematic movement of excessive gore and overtly "terrifying" segments. One of the real standouts of this genre is Deep Red, an intensive exercise in psychological horror, mystery, voyeuristic camerawork and full of trademark Argento moments which distinguish him as a visual mastermind.

A single screening is not sufficient. Deep Red demands a second look, like any clue in a mystery. Fascinatingly enough, the image of the killer is revealed at the very beginning. Argento plays the game of red herring so meticulously and intelligently in this film, it is entirely difficult to discern what and who to believe from the protagonist's point of view. Not a single individual I have spoken to about the film, myself included saw this early expertly concealed connection on our first viewing.


In fact, toward the end of the film's third act, just like the protagonist (played expertly by British superstar David Hemmings, who will later be mentioned in an analytical connection) forgets and neglects the clues we have been given the whole time. One of the film's most important supporting characters, Carlo, hints to Marcus Daily (Hemmings) from the very beginning that he most likely has seen everything he needs to crack the case. Many of us observe on a frequent basis from such a distance that our perceptions can be clouded with inherent prejudice and deceitful visual associations, Marcus included.

As well as other key components, Deep Red covers many societal issues, rather a rarity in the Giallo sub genre. Because of its numerous facets and captivating narrative, Deep Red is without much doubt a film deserving of five stars, tantamount to a unique perfection personified at the dawn of the director's cut, in which Marcus gets on his soap box and announces that the group of musicians is “too perfect.” That the music was invented in brothels and needs to be more... sloppy, a common metaphor once again for this distinct genre.

Thrillifying, vilifying with excess in the manner which makes the film a metaphorical labyrinth, this is a sure standout film which is sure to both enthrall fans and frustrate other audience patricians, it is only appropriate to laude this film with praise of which many share.

Further Analysis

Another aspect that struck me as rather interesting was the parallel between Italian director Michelangelo Antonioni's "Blow-Up" which also coincidentally starred David Hemmings. Spanning near a decade apart (approximately nine years), the theme of trickery and a fragile reality in which such essential elements fleets the conscious mind, the "nothing is as it seems" approach, is arguably one of the main themes of "Blow-Up." Carlo, as prefaced to be a key character tells Marcus that "his mind plays tricks on him all the time."

In Blow-Up, Thomas is involved in a situation which also involves a murder, albeit one of a different nature. It must be stated that Deep Red is not merely a copycat of Blow-Up. There are many startling similarities which may or may not have been intentional, but it would be a carriage of mis-justice to dismiss Deep Red as a "copycat film."

Another important observation I have conjured is Argento's tweaking of gender roles and stereotypes of what seem to be a universal misconception where females are incapable of the brutality, savagery acts of which violence is statically and primarily associated with the male race. This was a twist present in his first major film “The Bird With Crystal Plumage,” a comparably weaker attempt than Deep Red which almost shines light on the director's evolution (before Argento's almost unanimously acknowledged de-evolution into total cheese).

Some of these misconceptions of gender roles appear as early as the killer attending the men's room in which we see but a dirty, incomprehensible reflection of the killer in the mirror. Argento also plays a more light-hearted role, or rather “battle of the sexes” between Gianna and Marcus. One of the films more playful scenes involve an arm wrestling match between Gianna and whom she sarcastically addresses as “Tarzan.” The humour continues in moments such as in Gianna's car where Marcus's seat collapses down due to the car's disfunction, visually implying and asserting that in her car she has the right to dominance over the male species, or anyone for that matter.

Another topic which popped up frequently enough to warrant attention along with gender roles in society was the clear distinction of societal class. Early in the narrative Carlos drunkenly “expands his philosophies” by distinguishing Marcus as the “bourgeois of music” while he was simply the “proletariat.” One for art and love of music and one for survival, a shared occupation between the two while on significantly alternate life paths. Later a cop mocks Marcus when asking him his profession (“music”) and repeating “what is your real profession?” 

"Something important!"

Deep Red is essential viewing for anyone with even a small taste for the broad and often garbaged up blanket “horror” genre. It is Argento's most intelligently crafted film, aside from Suspiria which still lacks some of the narrative depth Deep Red provides. With the exception of a few miniscule moments that falter awkwardly, this is that almost picture perfect painting of what Giallo films often strive to achieve.

9.8/10

* As a caveat I must mention in this analysis of connections between Deep Red and Blow-Up, the discovered parallel which I initially felt was so astute, was also covered in a commentary, which I am unsure of which was official or added as an extra track (if you ever somehow read this contact me to give due credit, even though I promise I never stole from you). Having discovered this fun little easter egg before listening to a commentary, I wanted to pull my hair out having someone make this discovery of connections prior. This is one of the reasons I try not to read other review material, as it is a dangerous step toward unintentional plagiarism. I could not in fairness dis-acknowledge details which plagued my original approach to this analysis.