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Opera: Limited Edition
[Blu-ray 4K]
Blu-ray ALL - America - Severin Films Review written by and copyright: Noor Razzak (27th January 2025). |
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The Film
 Dario Argento’s "Opera" (1987) remains one of the most visually arresting and narratively unsettling films of his career, consolidating his reputation as a master of Italian horror and giallo cinema. The film blends Argento’s signature stylistic flourishes—opulent set design, vivid color palettes, and elaborate camerawork—with a more sophisticated, yet still deeply unsettling, psychological narrative. However, despite its aesthetic brilliance and the undeniable tension that permeates the film, "Opera" does fall into some familiar traps that limit its impact in the long run. "Opera" follows the story of a young and talented opera singer, Betty (Cristina Marsillach), who becomes the target of a mysterious killer while performing in a high-stakes production of Macbeth. As she faces increasingly violent attacks both on and off the stage, the film weaves themes of voyeurism, identity, and artistic obsession into its intricate plot. The killer’s focus on Betty, combined with the operatic setting, places the character in a relentless struggle between performance and reality, with death constantly lingering in the background. While the premise initially promises a taut exploration of the connection between art and mortality, it struggles with pacing and tonal shifts. The film's plot lurches between moments of deliberate suspense and overblown melodrama, leaving a sense of unevenness that undercuts some of its more compelling elements. The narrative's focus on the killer’s mysterious motives does build a sense of tension, but its eventual resolution feels somewhat anticlimactic, undermining the film’s earlier suspense. Where "Opera" excels without question is in its visual presentation. Argento’s direction is nothing short of magnificent, with the cinematography by Ronnie Taylor creating an almost hypnotic effect. One of the film's most striking features is the use of point-of-view shots, particularly the killer’s perspective, which heightens the sense of voyeurism and unease. Argento’s decision to place the viewer in the role of the killer creates an unsettling intimacy, forcing the audience to question their own position within the narrative. Additionally, the lavish sets and opulent costumes of the opera house reflect the grandeur of the art form itself, while also mirroring the film's darker undercurrents. The staging of Macbeth, with its brutal and bloody depiction of ambition and death, parallels the growing violence in Betty’s life. The contrast between the high art of opera and the lowly violence of the killer creates a disorienting dichotomy, which Argento plays with to disorient the audience. The use of color also stands out. Argento’s penchant for bold, saturated hues is at its peak, with deep reds, blacks, and golds that saturate the frame. The lighting choices, often stark and dramatic, enhance the theatricality of the story and lend a surreal quality to the proceedings. The film feels like a fevered dream—exaggerated, beautiful, and nightmarish. The soundtrack, composed by Claudio Simonetti (of Goblin fame), complements the film’s extravagant visual style. The music blends classical opera with synth-driven rock, matching the operatic intensity of the plot while also grounding it in Argento’s signature giallo roots. While the music is fitting and immersive, it occasionally overpowers the action, veering into bombastic territory where a more restrained approach might have better served the tension. The film also features music from Brian & Roger Eno, Steel Grave, and Bill Wyman. Cristina Marsillach gives a solid, if not exceptional, performance as Betty. Her portrayal of a woman trapped in a nightmarish situation is earnest, though she often struggles to imbue the character with the depth needed to make her truly memorable. The film’s secondary characters, such as the overly theatrical director Marco (Ian Charleson). Some of the characters feel more like plot devices than fully realized people, which detracts from the emotional weight of Betty's journey such as her agent Mira (Daria Nicolodi). The lack of substantial character development is one of the film's main weaknesses. Argento’s emphasis on atmosphere and visuals sometimes leaves the characters feeling like pawns in an elaborate game of style and spectacle rather than fully fleshed-out individuals with complex motivations. This detachment ultimately prevents the audience from fully investing in the stakes of the film, despite the impressive cinematography. "Opera" explores several potent themes—most notably the intersection of art and violence. Argento seems intent on blurring the lines between the beautiful and the grotesque, an idea that runs through much of his work, but it is particularly pronounced here. Betty’s ordeal can be seen as a metaphor for the exploitative nature of the entertainment industry, where talent and beauty are consumed by the brutal forces of public demand and fame. However, the exploration of these themes is never fully realized. The film hints at deeper commentary on the sacrifices of artistic life but doesn’t delve deeply enough to leave a lasting impact. Ultimately, "Opera" remains a visually striking and audacious work, even if it doesn’t quite live up to the expectations set by its premise and style. Its strength lies in its mood and atmosphere—two qualities that Argento, even in his weaker films, knows how to craft masterfully. While Opera lacks the narrative precision and emotional resonance of some of Argento’s earlier masterpieces like "Deep Red" (1975) or "Suspiria" (1977), it stands as a noteworthy entry in his filmography. It may not be a perfect film, but it remains a fascinating and audacious blend of high art and gory spectacle, showcasing Argento’s unique ability to turn horror into something visually extravagant and deeply unsettling.
Video
For the purposes of this review I will be looking only at the 4K transfers (standard HD transfers are also included on separate Blu-rays). Both the "Director's Cut" and the shorter "U.S. Cut" are included in 4K. The "Director's Cut" (107:27) is presented in 2.35:1 widescreen mastered in 4K 2160p 24/fps using HEVC compression and feature enhancement in Dolby Vision and HDR10. This new transfer has been created using the film's original super 35mm negative and was overseen at Cinecittà in Rome by Karim Hussain serving as color correction supervisor. The result is absolutely splendid, Argento's colors pop, detail is rich and wonderfully textured, blacks are bold. Skin tones look natural, film grain is still present, and the print looks clean of any imperfections. It's clean and sharp for the most part, although there are some shots that look a little soft, but nothing to write home about. The framing is worth commenting on, the film's original ratio was intended to be 2.39:1, this version is close at 2.35:1 widescreen. "U.S. Cut" (95:40) is a shorter version that was release theatrically for U.S. audiences and cuts a lot of the extreme violence, the transfer is pretty much the same as the longer version, presented in 2.35:1 widescreen mastered in 4K 2160p 24/fps using HEVC compression and feature enhancement in Dolby Vision and HDR10.
Audio
Both "Director's Cut" versions (2.35:1 in 4K and 1.85:1 on the Blu-ray) feature audio options in English DTS-HD Master Audio 5.1 surround, English DTS-HD Master Audio 2.0 Stereo, English DTS-HD Master Audio 2.0 Mono (Cannes Soundtrack), and Italian DTS-HD Master Audio 2.0 Stereo. While the "U.S. Cuts on both the 4K disc and Blu-ray features audio in English DTS-HD Master Audio 5.1 surround and English DTS-HD Master Audio 2.0 Stereo. For the purposes of this review I chose to view the "Director's Cut" with its 5.1 surround track, mastered at 48kHz/24-bit. Much like the image the audio is also terrific, dialogue is clean and clear, no evidence of any audio imperfections. The surround channels are active and immersive, with the film's awesome score a key feature of the soundtrack that pumps with vigour. Severin has delivered a fantastic audio track. Optional subtitles are included in English HoH, English HoH (Cannes Soundtrack), English (for Italian) on the "Director's Cut" and on the "U.S. Cut" we only get English HoH.
Extras
Easily one of the best Limited Edition sets that Severin has put together, this web store exclusive features five discs! Below is a closer look at these supplements. DISC ONE: 4K UHD This disc features both the "Director's Cut" (107:27) and the "U.S. Cut" (95:40) in 2.35:1 widescreen. There are three optional audio commentaries that are rich with information and worthy of exploration. The first audio commentary is on the "Director's Cut" by actress Cristina Marsillach, moderated by Ángel Sala, Head of Programming at the Sitges Film Festival (2024, in Spanish with optional English subtitles). This is a fantastic breakdown and analysis of the film, Sala takes the lead for the most part of this track. The second audio commentary on the "Director's cut" is by film critic/author Alan Jones, author of "Profondo Argento" and author Kim Newman, author of "Anno Dracula" (2024). Provides more in-depth information on the making of the film, plenty of trivia for Argento fans here as these two authors passionately discuss the film. The third and final audio commentary on the "Director's Cut" is by Mondo Digital's Nathaniel Thompson and Troy Howarth, author of "Murder by Design: The Unsane Cinema of Dario Argento" (2024). This is another analysis of the film, its themes, Argento's style, and the music, among other things. The disc also features the "Opera" international trailer (1:49) as well as the "Terror at the Opera" U.S. theatrical trailer (1:42). DISC TWO: Blu-ray This disc features both the "Director's Cut" (107:27) and the "U.S. Cut" (95:40) in 2.35:1 widescreen and also include the same three optional audio commentaries: audio commentary is on the "Director's Cut" by actress Cristina Marsillach, moderated by Ángel Sala, Head of Programming at the Sitges Film Festival (2024, in Spanish with optional English subtitles). The second audio commentary on the "Director's cut" is by film critic/author Alan Jones, author of "Profondo Argento" and author Kim Newman, author of "Anno Dracula" (2024). The third and final audio commentary on the "Director's Cut" is by Mondo Digital's Nathaniel Thompson and Troy Howarth, author of "Murder by Design: The Unsane Cinema of Dario Argento" (2024). The disc also features "The Eyes and the Needles" a 2024 interview with co-writer/director/producer Dario Argento (2:42, in Italian with optional English subtitles) features a brief chat with the film's director. "Arias of Death" is a 2024 interview with co-screenwriter Franco Ferrini (37:24, in Italian with optional English subtitles), the co-writer comments on working with Argento, developing the film, it's themes, and what they wanted to achieve with the script. "The Eyes of Opera" is a 2024 interview with actress Cristina Marsillach (19:15, in Spanish with optional English subtitles). In this clip she talks about her involvement in the film, on working with Argento, and on her character among other things. The disc also features the "Opera" international trailer (1:49) and the "Terror at the Opera" U.S. theatrical trailer (1:42). DISC THREE: Blu-ray This disc feature the "Director's Cut" in an open matte 1.85:1 ratio. This version shows more information on the top and bottom of the frame and also includes the same three audio commentaries from the other discs: audio commentary is on the "Director's Cut" by actress Cristina Marsillach, moderated by Ángel Sala, Head of Programming at the Sitges Film Festival (2024, in Spanish with optional English subtitles). The second audio commentary on the "Director's cut" is by film critic/author Alan Jones, author of "Profondo Argento" and author Kim Newman, author of "Anno Dracula" (2024). The third and final audio commentary on the "Director's Cut" is by Mondo Digital's Nathaniel Thompson and Troy Howarth, author of "Murder by Design: The Unsane Cinema of Dario Argento" (2024). "Don't Close Your Eyes" is a new 2024 interview with film historian Fabrizio Spurio (37:46, in Italian with optional English subtitles), the historian comments on Argento's career. "The Opera and Mr. Jones" is a 2024 interview with film critic/author Alan Jones (12:42), talks about the legacy of this film and where it stands in Argento's filmography. "Conducting Dario Argento's Opera" is an archival 2001 documentary featuring interviews with director Dario Argento, director of photography Ronnie Taylor, actors Daria Nicolodi and Urbano Barberini, effects artist Sergio Stivaletti, and soundtrack composer Claudio Simonetti (35:46, in English and Italian with optional English subtitles). Originally produced for the 2001 Anchor Bay DVD, this feature makes its way onto this disc and takes a look at the film's style and music. "Terror at the Opera is a Q&A with Dario Argento, Franco Ferrini, and Lamberto Bava at Cinema Farnese" 2006 featurette (26:36, in Italian with optional English subtitles), Known for its long-standing lineup of independent titles & film festivals this is a neat little clip at the Cinema Farnese showing of the film. DISC FOUR: Blu-ray "Opera Runs in the Blood" is a 2024 interview with actress Coralina Cataldi-Tassoni (18:03, in English), the actress reminisces about the film and her character. "To Catch a Killer" is a 2019 interview with actor Urbano Barberini (15:19, in Italian with optional English subtitles), another EPK style clip. "In Any Language" is a 2023 interview with actress Antonella Vitale (8:59, in Italian with optional English subtitles), talks about her role. "The Perfect Death" archival interview with actress Daria Nicolodi (3:59, in Italian with optional English subtitles), another insight from an actress on the film. "Blood Red Piano" 2015 interview with composer Claudio Simonetti (31:02, in Italian with optional English subtitles), the conductor comments on the development of the music for the film. "The Eye Behind the Camera" 2023 interview with camera operator Antonio Scaramuzza (35:27, in Italian with optional English subtitles), talks about the visual style of the film. "Flight of the Crow" 2024 interview with special effects artist Sergio Stivaletti (18:24, in Italian with optional English subtitles), talks about the practical effects and animatronics created for the film. "Blood and Latex" 2019 interview with make-up artist Franco Casagni (13:25, in Italian with optional English subtitles), talks about his process on the film. "The Gliding Camera" 2023 interview with Steadi-cam Operator Nicola Pecorini (19:23, in Italian with optional English subtitles), talks about the effective use of the Steadi-cam. "800 Sons" 2015 interview with film's publicist Enrico Lucherini (14:08, in Italian with optional English subtitles), talks about dealing with the press and on publicizing the film for release. "Preserving Opera" 2024 interview with 4K color correction supervisor Karim Hussain (5:52) the cinematographer comments on his work in restoring the film and creating a color grade that best preserves Argento's original vision. "Opera Backstage" behind-the-scenes video created from archival footage (44:35, in Italian with optional English subtitles), filmed during production, this provides fans an onset look at the making of the film. DISC FIVE: CD This is the soundtrack by Claudio Simonetti (15 tracks): 1. "Opera" (2:23) 2. "Crows" (2:42) 3. "Impending Danger" (1:46) 4. "Steel Grave" by Steel Grave (3:11) 5. "Confusion" (3:25) 6. "The Mask" (1:58) 7. "Knights of the Night" by Steel Grave (2:46) 8. "The Cinema Show" (1:58) 9. "Cosmo" (3:46) 10. "Confusion (reprise)" (2:19) 11. "Opera" 1987 Piano Demo (2:25) 12. "Crows" 1990 Simonetti Horror Project version (3:08) 13. "Days of Confusion" 1991 Simonetti Horror Project II version (3:51) 14. "Confusion" 1987 Piano Demo (3:25) 15. "Opera" 2002 DAEMONIA Live At ProgWest Festival - Claremont L.A. Version (5:23)
Packaging
Packaged in a 5-disc keep case housed in a hard box slip-case with a with a booklet by Claire Donner of The Miskatonic Institute of Horror Studies. This is a Severin Exclusive available directly from Severin Films.
Overall
"Opera" may not reach the heights of Argento's earlier work, but it is undeniably a work of bold ambition, embracing both the sublime and the grotesque in equal measure. For fans of Argento’s oeuvre and lovers of giallo horror, it remains a compelling, if imperfect, piece of cinema. Severin delivers an incredible 5-disc package packed with extras that fans will no doubt appreciate. It's an easy recommendation for fans of Argento and giallo filmmaking.
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