A Nightmarish Symphony of Beauty and Terror Dario Argento’s Opera is a fever dream of style, elegance, and brutality, a film that turns the grandiosity of the opera house into a blood-soaked spectacle of terror. From its sweeping set pieces to its inventive, almost hypnotic camerawork, Opera is one of the most visually stunning giallo films ever made, a true masterwork of horror aesthetics. The opera house itself is a gothic marvel, its towering balconies and cavernous stage draped in deep reds and golds, a place of both artistic grandeur and impending doom. The way Argento moves through this space—gliding, swooping, and tracking through its corridors and rafters—gives the film an almost dreamlike quality, as if the audience is caught in an endless nightmare of beauty and violence. And then there are the birds. The infamous bird’s-eye shots, taken from the perspective of the crows, are breathtakingly eerie, soaring over the audience like death itself watching from above. At the center of it all is Cristina Marsillach, whose delicate features and luminous presence make her the perfect Argento heroine—both fragile and strong, haunted yet defiant. Argento frames her like a tragic opera star, often bathed in ghostly blue lighting or caught in suffocating close-ups, her wide eyes reflecting the sheer horror unfolding around her. And then there’s the peephole kill—one of the most unforgettable shots in horror history. A bullet fired through the door meets its target in grotesque slow motion, an image so precisely crafted that it feels almost like a perverse painting, a moment of carnage frozen in time. But Opera isn’t just about beauty—it’s about contrast. Argento’s brilliant decision to juxtapose classical opera music with jarring, pulsating heavy metal during the murder sequences adds an extra layer of chaos and unease. The elegance of Verdi and Puccini is shattered by the raw energy of electric guitars, mirroring the way art and violence collide in the film’s world. The lighting and atmosphere in Opera are also pure Argento magic. Deep blues, rich reds, and bursts of golden light give the film an otherworldly quality, almost like a haunted painting come to life. Shadows stretch impossibly long, reflections distort reality, and even the stillness feels charged with menace. It’s a film where every frame is meticulously composed, every movement designed to unsettle. In the end, Opera is more than just a giallo—it’s a visual symphony of terror, a film that transforms a place of artistic beauty into a grand stage for nightmares. Few horror films feel as meticulously designed, as lush and eerie, as hauntingly stylish. Argento’s vision is in full force here, and the result is a film that lingers like a ghostly aria long after the final curtain falls.

I’d make the case that OPERA is Dario Argento’s last great film, telling the story of an opera singer stalked by a mysterious Phantom of the Opera-like killer. Prior incarnations of The Phantom always had a tinge of romanticism to them, but he’s basically a serial killer, which Argento leans into in the loose retelling of the oft-told tale. As with most Argento films, it’s the set pieces, music, and visuals you most remember, but OPERA has a better story and characters than most of his films. Although Argento reportedly clashed with lead actress Cristina Marsillach, later calling her the most difficult actress he had ever worked with, her opera understudy heroine is one of the most well-rounded of any of his female protagonists. Still, it’s the horrific set pieces that really stand out. The Phantom in this incarnation forces the hapless opera singer to watch him kill those close to her by tying her up and taping needles under her eyes so she cannot close them without blinding herself. Besides this ghastly close-up image of needles precariously close to terrified eyeballs, there are some incredible set pieces, such as a bullet shot through a door peephole, a mysterious voyeur creeping through the heroine’s apartment air ducts, and a fantastically suspenseful finale with (SPOILER ALERT!) our heroine trapped in a burning room at the opera house. OPERA features some dynamite cinematography from the directory of photography on GANDHI and TOMMY, including a fantastic opening shot of the entire opera house reflected in a raven’s eye. There is also some enjoyably funky music from Brian Eno of Roxy Music and Claudio Simonetti of Goblin. Unfortunately, the soundtrack also features unpleasant and distracting heavy metal music, which did not age well at all. I’m a fan of heavy metal, but it’s out of place here and does not fit the feel of the film. More Eno and Goblin-like music would have worked way better. My other main complaint about the film is that it has an unnecessary second climax to the film set in the Swiss Alps. Anyone who read Thomas Harris’ RED DRAGON will know the ending used here, but Michael Mann wisely excised this second climax from his version of the story in MANHUNTER. This film would have greatly benefitted from doing the same. Still, the film’s many assets outweigh its deficits and make it a well worth watching. OPERA is one of Argento’s more memorable films and is a must-see for giallo fans everywhere!

Absolutely great, a masterpiece of the genre. I don't think the false ending structure fits with the movie, I think it ruined the whole work, but still a very good one by Argento.

Opera is another masterpiece from the master of horror, Argento! It delivers a suspenseful giallo at its finest, complete with tension, blood, terror, sensuality, innocence, and poetry. An incredible camera work wraps it all up beautifully. Watching Opera also makes you realize that many recent horror films haven't brought anything new to the table.

The main character is tied up and forced to watch people close to her get mutilated and killed. Afterwards she is set free. This happens a few times and never does she go to or even attempt to contact the police. Now, I know horror movies are notorious for characters doing illogical or flat out stupid things, but this is SUCH a glaring issue that it detracts from the rest of the film after the killings. Suspension of disbelief right out the window...even so, would still recommend it to anyone that likes horror movies, especially slasher flicks. I guess maybe Argento just could not afford to include a police presence in this film? I don't know. Even with the stupidity of the story it is enjoyable. Or maybe because of it?

Insane, even for Argento (a major plot point hinges on ravens getting their revenge) but the whole idea of forcing the central character, and by extension the audience, to view the violence is undeniably great.

Well, it was better than Inferno, but not by a mile. Opera is, as all Argento films, stunning to look at it. Music is constantly played throughout the film to the point where it becomes distracting. Violence is full-on display, which will satisfy horror and giallo lovers. The film is a little too long, and you will feel the time. There is a subplot that goes nowhere, because storytelling is not Argento's strong suit. Nevertheless, I am glad I checked it off "giallo to watch" list.

This Was A Outstanding Horror Movie, Loved The Opera, GREAT Job Guys.🌟🌟🌟🌟🌟

Opera is a different kind of phantom of the opera but it's really stylish and bloody film.

Opera might be a bit late in the traditional timeframe of giallo films, but Dario Argento delivers some of his most substantial and enticing visual designs with this film. There's great contrast between the metal soundtrack, the melodramatic performances, the decent gore, and the most notable element - a very creative and varied cinematography that uses unusual camera angles with gusto. You can see it from the second the film opens, using an unorthodox first-person perspective for a character that instigates the plot but is never seen, alongside the close-proximity shots of ravens and all their macabre associations. From there it's a consistent thrill ride of creativity as the director demonstrates an inventive spirit to go along with his story. Thematically? I watched it too late at night to hazard a decent guess. Maybe I'll come back to Opera to give the film its due diligence at a later date, but for the time being I was left a bit confused. There are elements of lust, voyeurism, violence, and heritage all thrown into the mix, none of which stand out as the defining feature of the film. In his attempt to deliver an unusual and distinctive film, Argento seemed to play it all a bit fast and loose when it came to narrative tightness (including a neighbor being introduced to save the day via air duct, and a previously unmentioned familial connection in the mystery that becomes bizarrely important late in the film), but that's part and parcel of the giallo genre. Did the bracelet ever come back into play? That seemed like a loost thread hanging out there, especially considering that a person died for it. (3.5/5)

Very much a Dario Argento giallo. The plot is engaging and Argento seems to always be trying to have fun whether it be through the shots, costumes or music. That being said this film suffers from the same problems as many giallo's, overly sexualized, and a tendency for men to try to seek power over women that is just weird. But if you just ignore these aspects the film is really enjoyable.

An ingenui opera singer is the target of a madman. Another good film from Argento.

This is possibly argentos best. Very much like a fever dream with several unsettling and at times thought provoking scenes. The setting is superb and the Gothic feel of the movie is A+. Argento as always produces stunning shots and closeups The closeups of the Birds in the begining are a little appetizer for the rest of the film. Mostly well acted certainly by the lead. I would say this film stayed with me quite a bit longer than movies usually do and I found myself the next day thinking about the movie. Very enjoyable!

This is Argento's best horror film director is terrifying stylish and bloody horror film to entertain for hardcore horror fans.

As a fan of both opera and horror movies, I had a sneaking suspicion I would like this movie - I was wrong (sort of). My main takeaway is that this is a horror movie I can laugh at. I found myself laughing at almost every death scene. The acting is subpar and every line sounds as if they were recorded again and dubbed over in post, which took me out of the illusion of the movie. It was fun to recognize the beautiful music in the movie, but it couldn't save it. Probably wouldn't watch again unless I was watching with a friend for a good laugh.

There are some seriously well done kills and gore in here, great camera movement and position. Argento continues the good streak.

It's not bad Argento, it's just not great Argento.

Art house slasher flick is a chilling variation on the Phantom of the Opera concept. Best know for the needle in the eye torture gag, this picture never quite achieves the absurdist heights of Argento’s Suspira, this is still one of the best horror films of the golden age of the slasher genre.

While there have been a few shining moments peppered throughout the years, this is the last truly great film from Argento, in my opinion. There's several hokey things that happen, and the main girl can be rather obnoxious, but it's a fun, gruesome thriller, with an awesome soundtrack.

one of argento classics