Aquarius

DELIRIA

(USA/UK: StageFright: Aquarius)

Aspect ratio: 1.85:1

Sound format: Dolby Stereo

A group of actors become trapped in a theatre with a rampaging maniac who has just escaped from the nearby psychiatric clinic...

DELIRIA not only marked the directorial debut of Euro-cult favorite Michele Soavi (billed here as 'Michael' Soavi), it also marked a reunion of several prominent figures from the heyday of Italian exploitation. Produced by renowned sleaze merchant Joe D'Amato (Aristide Massaccesi - "Buio Omega", "Emanuelle in America") and written by splatter stalwart George Eastman (Luigi Montefiore - RABID DOGS, ABSURD), and co-starring John Morghen (Giovanni Lombardo Radice - CANNIBAL APOCALYPSE, CITY OF THE LIVING DEAD), this deceptively modest shocker attempts to subvert many of the clichés associated with 'traditional' slasher movies, and does it with style and grace. Viewers weaned on a diet of bland Hollywood 'horrors' may not succumb immediately to the film's wayward plot developments (including the central device of an off-off-Broadway stage musical which celebrates the very same serial killer who winds up massacring most of the cast!), but once the basic premise has been established, the narrative assumes a near-demonic life of its own.

Beginning with a frankly horrific sequence in which the masked killer is mistaken for an actor during rehearsals and encouraged to 'kill' a female co-star (only to commit the bloody deed for real!), Soavi's direction is razor-sharp and visually appealing. The murders are outlandish and gruesome, though also tragic in places (watch out for a shower sequence which operates both as a suspense set-piece and as a vivid demonstration of human cruelty), and Eastman's clever screenplay strips the characters down to their emotional core, revealing a gamut of fears and prejudices which leave many of them vulnerable to the killer's predations. The climactic sequence - in which a frightened young actress must retrieve an all-important key from its hiding place within inches of the killer's feet - is ghastly, beautiful and terrifying, all at the same time. Outside of these major set-pieces, Soavi's relative inexperience is betrayed by a couple of ragged camera movements and some odd editing choices, while the performances are compromised by flat post-sync dubbing. But overall, the movie is a triumph, one which plays Soavi's mentor Dario Argento at his own game and succeeds beyond all expectations.

(English version)

I recently acquired Italian horror director Michele Soavis Cemetery Man which was released recently for the first time on DVD. I had seen it before, but somehow now it became one of my favorite horror films. It has a style, beauty and grace that many horror films seem to miss nowadays. So naturally I set my eyes on seeing all of Michele Soavis horror films. I had already seen two of them The Church and Cemetery Man, and The Sect isn't out on DVD so I decided to see his only other movie on DVD which is Stagefright. This was Michele Soavis directorial debut, so I didn't really know what to expect. A flawed film made by an at the time rookie? A promising film with glimpses of greatness here and there?

The story is about this group of actors that are putting up a play. They have very little time to practice some of the dance moves and songs so they are all under a lot of pressure. A psycho killer finds his way to the theater and locks everybody inside with absolutely no way out. Then he begins to systematically kill all the actors on the play in some really gruesome ways.

Well its no secret that Soavi was Argentos pupil and I think that out of all of Soavis horror films that I have seen Stagefright is the one in which this is most evident. There's the killers point of view, some strange and interesting camera angles and even an animal themed killer. But thats not a bad thing in my book because eventually Soavi found his own voice and style as evidenced by his last horror film Cemetery Man. Still, Stagefright has a great style and look. What I love the most about Soavis films is that they deal with all these horrible killings, yet the film has a class and a finesse about it that kind of elevates the sleaziness of the slasher genre to a high that it rarely reaches.

Don't get me wrong here, this movie may be artsy and classy, but its still very very much a slasher film. There's some truly brutal deaths here! After the movie sets up its premise the ball gets rolling really fast! Thats one of the things I liked the most about this movie it had a fast pace and wasn't boring in the least! Once the killer puts on that cool as hell Owls Head mask on his noggin things get really gory and interesting. From people being cut in half with chainsaws (great scene man!) to some cool decapitations this movie had me cheering for more! So slasher fans and fiends, you wont be disappointed!

Another excellent thing about this movie was that it wasn't an incoherent mess. I've seen a lot of Lucio Fulci films, a lot of Dario Argento films and a few other Italian directors and they all suffer from the same illness. They cant seem to bring together a story and tell it in a coherent understandable fashion. Not so with Soavis Stagefright. I was surprised at how smoothly the story flowed and I was surprised that I was actually understanding it without any extreme effort. In a sense I would say that Soavi took everything that Argento and Fulci did wrong and did it right. He learned from their mistakes and therefore he is a better filmmaker for it. He is the next step in the evolutionary ladder as far as Italian Horror goes. This might also be why Soavi is heralded as the savior of Italian Horror by many a horror connoisseurs.

So in conclusion, Stagefright is a solidly well directed slasher. One that showed promise for what is one of horrordoms best directors,even though his body of work is comprised of only four movies. I hope Soavi wakes up from that dream soon and delivers us with something as good or better then what he has already done. Soavi you the man! Rating: 5 out of 5

Stageright is possibly one of the greatest slasher/horror films virtually no one has ever seen, which is why I so strongly reccomend you do some searching for a copy. Stagefright tells a simplistic tale (one which verges on cliche, but fortunately manages to avoid the pratfalls of the formulaic slasher film) of a group of thespians whom are currently working on a theatrical production, a musical about a serial murderer. As this occurs, so does the escape of a crazed actor/murderer from the local insane asylum whom happened to brutally kill his co-star several years back in the same theater. He returns to wreak his vengeance upon the cavernous rehearsal hall's new inhabitants, donning an owl mask and weilding a variety of lethal impliments of destruction.

As you can see, there really isn't much to Stagefright in terms of plot, but this aspect does not work against Stagefright, it proves to be an asset. Due to the lack of contrived subplots and red herrings, director Michele Soavi (this film was his debut, proving just how strong of a director he is) can concentrate on the magnificent atmosphere and carnage that ensues. Speaking of carnage, Stagefright not only offers some marvelous suspense/tension , but some great gore. The score only helps to accenutate the mood of the movie and while the characters may be two-dimensional, the aformentioned aspects of Stagefright surpass them. Stagefright is recommended definitively.

Grade: A

While rehearsing a musical play in a theater, the dancer Alicia (Barbara Cupisti) twists her ankle and the costume designer Betty (Ulrike Schwerk) drives her to a nearby hospital. However, the place is a mental institution but a doctor treats Alicia's ankle. They return to the theater but the dangerous psychopath Irving Wallace (Clain Parker) escapes hidden in Betty's car. He kills Betty outside the theater and Alicia finds her body. They summon the police and the director Peter (David Brandon) decides to promote the play using the press and supported by the producer Ferrari (Piero Vida). He rewrites the screenplay and casts six actors and actresses to immediately rehearse to the opening night, promising additional payment. He asks the actress Corinne (Lori Parrel) to lock the theater and hide the keys. But Irving Wallace has sneaked in the theater and starts a crime spree. Will anyone survive the serial-killer?

"Deliria", a.k.a. "StageFright: Aquarius", is a claustrophobic Italian giallo by Michele Soavi. The direction keeps the tension until the last moment. The screenplay is very well written without the usual flaws that we find in this genre. The performances are good and supported by great cinematography and use of lighting. My vote is six.

Title (Brazil): "O Pássaro Sangrento" ("The Bloody Bird")

Note: On 05 Jun 2022, I saw this film again.

STAGEFRIGHT opens with a jaw-dropping, murderous dance routine, featuring some awesome saxophone playing and a "killer" in an owl mask! After this, one might think that anything to follow would be anticlimactic. Ha! This would be a mistake! What transpires after this sequence is even more astonishing!

A troupe of thespians is working on the aforementioned musical, complete with a rape scene (!). In a miraculous turn of serendipitous events, the play's hyper-intense director (David Brandon) decides to keep everyone in the theater overnight. A dark, stormy night! In addition, an escaped, homicidal maniac is on his way to the theater! He's an actor-gone-berserk, don't ya know?! He also loves owl masks!

Let the bodies hit the floor!

Kooky, bloody, and absolutely enjoyable, this movie should be seen by all sentient beings! Especially, those with a hankering for Italian horror cheeeze. Or owls. Stars Barbara Cupisti (OPERA, THE CHURCH) as Alicia, the only character with a functioning brain...