Dario Argento graces the cover of DELIRIUM Magazine’s 19th lurid issue
Coming next month, DELIRIUM Magazine slips on our black leather gloves and flips on the color gels for our 19th lurid issue, featuring a brand new interview with the undisputed master of Italian horror, director Dario Argento! The dark, fevered mind that brought you such classics as DEEP RED (PROFONDO ROSSO), SUSPIRIA, INFERNO, TENEBRE, PHENOMENA and MOTHER OF TEARS gets the full-throttle DELIRIUM treatment in this marvelous mag, featuring a lush cover by photographer Ama Lea and designer Ryan Brookhart. The photo features Argento as he is today, saturated in the same reds and greens and violets that stain his signature works like SUSPIRIA and INFERNO and surrounded by imagery from many of his most talked about movies. And the interview inside – by our Italian correspondent Roberto D’Onofrio – is a marvel, with Dario discussing his storied past and upcoming projects.
Indie Horror Film is Inspired by Argento and Fulci
With the recent release of the remake of Dario Argento’s SUSPIRIA, it’s interesting to note the impending release of a similarly abstract indie horror drama, one that exploits the grueling world of dancing as its anchor in a world filled with supernatural shock. That film is BLOODY BALLET (aka FANTASMA), a Euro-styled skin-crawler directed by Brett Mullen (BOMBSHELL BLOODBATH, BELLADONNA) and starring TEXAS CHAINSAW MASSACRE PART 2 legend Caroline Williams , indie icon Debbie Rochon and THE CRAZIES star Brett Wagner.
Synopsis: When a beautiful ballerina dancer, Adriana Mena (Kendra Carelli), lands the lead role in the upcoming Nutcracker performance, she’s forced to face her demons as jealousy and tension begin to provoke the supernatural.
“I started this film before there was an announced remake of SUSPIRIA,” Mullen says of his elegant spook show.
Michele Soavi’s 1987 film STAGEFRIGHT is a favorite to many horror aficionados and now the Italian classic gets the Blu-ray treatment from Blue Underground with this release and boy oh boy, does it look better than ever.
Following a somewhat troubled musical number that ends up being quite the deadly experience, STAGEFRIGHT establishes an excellent tone from the very beginning, setting forth a downright beautiful look full of color and style, before even getting to any real danger within the film’s plot. By the time the film’s heroine twists her ankle and heads to a psychiatric hospital to get it fixed (strange I know) we’re already on board with not only the look of the film, but also its characters, a group of needy and overly dramatic theater actors who each bring a really fun presence to the film. Soon after arriving at the hospital, one thing leads to another and a mental patient, guilty of slaughtering a dozen people, escapes and hitches a ride back to the theater, where the troupe is being subjected to an intense rehearsal by the show’s director.
Everything leading up to that point in the film, is all about setting forth that tone and feeling, allowing STAGEFRIGHT’s viewers to get hooked into a question of what’s coming next. What does end up coming, next is that the entire group gets trapped inside of the theater, with the killer hiding within and he soon dispatching them, one by one.
What sets STAGEFRIGHT apart from every other slasher film released at the time, is how tense it can feel, all while also feeling very playful and visually striking at the same time. It’s one of the few great horror films set within a theater-setting (Bava’s DEMONS and Herrier’s POPCORN also sitting comfortable side by side with it), something that gives you as a viewer a very confined and sometimes claustrophobic feelin. Topped with some excellent kills, with everything from axes, chainsaws, drills and everything in between used as ways to off each cast member one by one, STAGEFRIGHT also boasts one unforgettable killer, wearing an owl-head costume while chopping people to pieces, and trying to stage his own stage piece. It’s one of those horror films that really stands out in pretty much every capacity, with a fun plot, over the top performances, great kills, and last but definitely not least, an excellent electronic-based score by Simon Boswell (DEMONS 2, SANTA SANGRE).
Blue Underground really did one hell of a job with STAGEFRIGHT’s Blu-ray debut, as it looks absolutely stunning in high definitely, making those beautiful colors and shots stand out even more than they always have. Add the disc’s 5.1 DTS sound to it, and you’ve got by far the best the film has ever looked and sounded. Also on the disc, is over a half dozen interviews with everyone from Soavi himself, to stars of the film, make-up effects artist Pietro Tenoglio, as well as composer Simon Boswell. Each interview is well over the ten minute mark and not a single one feels like the short EPK’s that fill up so many releases these days.
Whether you’re a longtime fan of STAGEFRIGHT or if you’re just in the mood for something new, this is one hell of a release and something that should be in every horror fan’s collection.