PROFUNDO ROSSO
(Deep Red)
Dario Argento
1975
Dario Argento was born in 1940 in Rome Italy the sin of Italian and Brazilian parents; He was initially a film critic bit then became a film maker – writing, directing and producing films,
He made three giallo films (animal trilogy) Bird with Crystal Plumage (1970). Cat o’ Nine Tails (1971) and Four Flies on Grey Velvet (1972). He then left the genre only to return in 1975 with Profundo Rosso considered the greatest giallo film ever made. His work has influenced many film makers. Carpenter has said his Halloween was influenced by Argento.
Profundo Rosso which he wrote and directed is his 19th film.
Dario Argento’s work is felt to be part “art film: and part “exploitation”
EXPLOITATION FILMS
A film which tries to appeal to a current trend, niche or genre often sex, violence or romance. Blaxploitation
Typically very low budget, these types of films would often be seen to ‘exploit’ a trend, niche or controversy – such as sex, violence, or drug use. Often screened in seedy drive ins, or small independent theatres, genre fans would gather to watch some of the trashiest films ever created. The exploitation genre, closely tied with grindhouse, has it’s roots as far back on cinematic history as the 1920s, but was fully realised in the late sixties and seventies; mainly as a result of relaxation of censorship rules. Exploitation is very loosely defined, and has more to do with a viewer’s perception of the film than with the film’s actual content. Titillating material and artistic content often coexist, as demonstrated by the fact that art films that failed to pass the Hays Code were often shown in the same grindhouses as exploitation films. Indeed, many films which may at one point been considered exploitation are now considered culturally significant; the most notable examples being Night of the Living Dead or Td Browning’s Freaks. As such, modern film critics have examined the cultural influences which have effected whether a film is classified as exploitation – noting that if Eyes without a Face had been made in American it would have been viewed as a low budget horror, while if Carnival of Souls had been been in France it would be considered an art film.
Mondo Cane 1962 is one of the first as is thought to have influenceded some of the giallo flm makers. The films are seen as lurid sensational and eccentric. Half documentary half staged,
"Giallo" (yellow) is the term in Italy for a genre of literature or film which is close to the English term “thriller” associated with mystery, crime fiction and horror regardless of country of origin. In America it tends to refer to an Italian murder mystery with horror elements and eroticism. It began in the mid to late 1960’s and peaked to the 70’s and since then has declined in popularity. It is seen as a precursor to the later American slasher film genre. The term yellow refers to the “yellow” paper f the cheap paperback novels.
Characteristics: gruesome murder mystery thrillers combine detective genre with horror.
Psychological themes.
Thematically, there are psychological themes of sexuality, madness, alienation and paranoia.
Post modern questions of questioning if reality can be known is manifest in skepticism by authority figures about eye witness reports, delusion, paranoia. Delusion and hallucination There is even a question about “Your truth isn’t my truth”. This leads to the post modern assumptions that all narratives are equally true (not valid which is a logic condition). This means you would have to believe that A and ~A are true at the same time. Aristotle says if you find people who believe that – don’t talk to them.
Questions are raised about women being seen as pathological
The giallo foms are often praised for their filmic aspects – editing production values, and music while the other aspects of the film (characterization, realism in acting, logical coherence are lacking)
Maitland McDonagh who used to teach here, wrote a book on Argento in which she claims that in Profundo Rosso "overwhelming visceral experience...equal parts visual...and aural, The sound track includes variations in music types – “lounge music”, “jazz”. Both Argento and Bava are known for their use Impressionistic color and lurid imagery. (I Tre Volti della Paura 1963 (lierally The Three Faces of Death bit released in America as Black Sabbath)
AFTER THE FILM
Opening music clearly influenced Halloween (1978) and was it self influenced by Psycho (in many ways and also other Hitchcock films. The attacks with the cleaver parallel those with the knife in Psycho. The revelation of the dead body is also like Psycho. Even the rather long psychological explanation parallels the one in Psycho. The writing on the bathroom wall from Lady Vanishes)
The 1953 House of Wax also includes a murder by elevator (shaft)
Also Edward Hopper’s painting Nighthawks of Phillies in Greenwich Village. It may have to do with Hemingway’s “The Killers” a story he liked, and Hopper himself said that the painting was more about predators in the nigh than loneliness. This painting was spoofed by Gottfried Heinwein in his painting “Boulevard of Broken Dreams”
The peculiar insert in the film’s credits is the clue to the film’s solution.
Notice the things in the title sequences that relate to the rest of the film – the rope, doll and so on.
Note the use of red in the film – the red parapsychology conference backdrop and table skirt.
SONG AS KILLER’S CALLING CARD. Opens film and precedes murder of Ullman and also is heard in Marcus room
What can you say about the color?
What can you say about camera movement?
Camera moves as though POV shot in many cases. The earliest is when “someone” appears to stand up and walk out of the audience at the convention. Can we assume this is the murderer whose thoughts have been impinging on Helga?
When Marco is composing, the murder arrives at his place and the camera moves, low on the floor through the rooms to the dor. Marco is still playing the piano. Is this a point of view shot? If so, whose?<[> Notice the song does not occur in the murder with Amanda or the stabbing of Gianna because they are not killed by Carlo’s mother.
Despite Helga’s insistence she is not using magic, her apartment is filled with magical icons and articles.
Some Logical Inconsistencies.
Has Carlo’s mother killed someone after her husband, but before the film starts? Why or how does Carlo know his mother is involved? Why would she kill Helga Ulman? Why would she have gone to the parapsychology meeting?
Would someone (Marcus) rushing to a possible murder victim notice a picture that turns out to be a mirror in which he sees the murderer and not seen his own reflection as he ran past?
There is a question about with the film has the kind of logic of a nightmare, which in a sense doesn't make any logical sense. The argument for "nightmare logic" is thought to be used sometimes as an excuse for logical inconsistencies. Is it here?