Opera (1987)

Opera is the last of what’s regarded as Argento’s unimpeachable run of giallo-horror-thrillers he made through the seventies and eighties. For me, there are hits and misses (Phenomena was not my bag), but Opera is one of his best.

Betty, understudy in a version of Verdi’s opera Lady Macbeth, makes a name for herself stepping into the lead role when the famous singer Mara Cecova is hit by a car. That night, a masked figure murders Betty’s boyfriend Stefano at his apartment, making her watch. Betty becomes suspicious of everyone, and as she is made to watch more killings, she must work out who to trust before it’s her turn to die.

The world of opera, with its costumes, mannequins, stage lighting and imposing architecture, is perfect for the heightened world of giallo’s black-gloved killers, secret passageways, uncertain allegiances and naked ambition. The soundtrack uses opera music, of course, but still has Argento’s trademark heavy metal. The deaths are violent and shown in explicit detail, and like Betty, we are made to watch.

Cristina Marsillach as Betty is perfect as the insecure, vulnerable, talented and resourceful Betty. There are plenty of playful cinematic touches on display, and using ravens from the opera’s avant-garde production as a central plot point is a supremely gothic touch.