This film was investigated by Feminist Slasher Project Correspondent James "The Jimi" Hattar. I involved The Jimi in this process because he gives some testosterone to this process. He is a horror movie addict and has the rare ability to criticize even the best of films. He's a man looking for perfection. The Jimi is an asset and I'm sure he will be a fan favorite. Below is his review....enjoy!
“Stagefright” (aka Deliria, Aquarius and Bloody Bird) directed by Michele Soavi (Cemetery Man) is a late 80’s Italian slasher flick (overdubbed in English) in the style of Dario Argento and Lamberto Bava. The story is your run of the mill psycho on the loose slasher, only this time it’s set almost entirely inside of a theater, where a troupe of actors and stage hands are rehearsing an off Broadway style musical called “The Night Owl”. Now without giving much away, here’s what this movie is about.
The production, a cheesy avant-garde musical about an oversized owl-headed serial killer, is lead by the arrogant and abusive director, Peter (David Brandon). He treats his cast and crew like dirt, threatening to fire them at the drop of a hat. Especially under the gun is Alicia (Barbara Cupisti), a dancer who's late with the rent and desperately needs the job. Concealing an ankle injury, Alicia and wardrobe mistress Betty sneak out of the theater during a break to seek medical attention. As luck would have it the first hospital they chance upon is a clinic for the mentally disturbed. They're almost thrown out but a kindly doctor intervenes, treating Alicia’s ankle. While there Alicia and Betty witness a man tightly bound to a stretcher. The doctor casually informs them that the new patient is none other than Irving Wallace (Clain Parker), a former actor who went nuts and butchered 16 people in a sensational killing spree. Wallace is not incarcerated there for long, though.
The maniac murders an orderly and escapes. Back at the theater, Alicia is in deep dookie with Peter. The insensitive director fires her on the spot for missing a stage call. On her way out Alicia discovers a corpse in the parking lot. The police are called and begin a search of the surrounding area. Instead of shutting down the rehearsal, Peter is inspired by the potential publicity a real-life murder will bring to the play. Peter bribes and persuades the performers into continuing the rehearsal into the night. He even offers to reinstate Alicia, who wants no part of it. When she tries to leave, she discovers all the theater exits are locked. Wallace is hiding inside the theater, of course, and has the others trapped.
The remainder of the film adheres to the tried and true Slasher formula of Stalk and Slay, with the maniac, ominously dressed as the owl-headed killer from the play, knocking off his victims in interesting and grislier fashion. The killer uses a variety of implements as weapons throughout the film to kill his victims. Implements that you’ll find very hard to believe, that anyone would be able to come across these things…in a theater of all places. Also true to the formula, only one character will be left alive to face the murderer. Can you guess who? Then there’s the weak climax that leads to exactly the kind of stupid, nonsensical ending that left me cold to this flick.
Soavi’s directing style saves the film with his eye for strikingly stylish compositions and ability to fashion fascinating set pieces. The scene in which a costumed Wallace murders one of the dancers on stage in the middle of rehearsal (the others think it's part of the scene being played) is original. Be prepared for the blood and guts, in typically Italian fashion, Soavi isn't afraid to let the red stuff flow freely.
“Stagefright” is a slow paced movie that contains some decent kills. It has style, but the plot, the stereo typical characters and overdubbed dialogue are completely ridiculous. There is no tension and it's not scary at all, especially when the killer coming to get you has an over sized owl mask on. Can you tell I didn’t care for this movie very much?
Feminist Slasher Project Research:
The portrayal of the female theater characters in “Stagefright” were your typical one-sided characterizations of women in Slasher flicks. These sexy women are frightened, feeble, scream every few minutes and make dim-witted choices throughout the film (but then again, some of the men do the same). The only exception is Alicia, who seems to be the only intelligent one in the whole theater and is the constant source of reason to the rest of the cheesy, one-sided characters. In order to survive, a scared Alicia becomes a reluctant heroine in the film. So, as a man and a lover of women, I give “Stagefright” a green light for the Feminist Slasher Project.
Considering my new obsession with owls, I have to see this movie.
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