Legions of horror fans the world over consider Deep Red to be Dario Argento's finest work to date, above event the highly renowned Suspiria. It was during this rich vein of cinematic form that Argento was given the unofficial titles of being "The Italian Hitchcock" as well as the "poor man's De Palma" both could be construed as compliments as well as criticisms.

Deep Red begins with a shimmering white Christmas setting, shot in overexposed light - the scene is like a gaudy dream with an irritating children's rhyme playing in the background. We see shadows, sharp edges, a knife, we hear a scream and then the knife falls to the floor in a pool if redder than red blood. It's a trademark Argento premise, reminiscent of the flashback scenes in Tenebre and Creepers for example, not to mention The Bird with Crystal Plumage - the film which effectively serves as a role model for Deep Red.

Argento relishes his dreamlike, overexposed flashbacks and these sequences make regular appearances in most of his work. We switch to present day (70's) Rome where we are introduced to a British ex pat making a living as a jazz pianist. But before that, there is stylish sequence at a parapsychology institute where the guest psychic gasps in horror as she senses a murderous, evil presence within. The scene is dominated by the colour red, an idea that had just recently been explored by Nicolas Roeg in the classic Don't Look Now. The psychic is stalked by a shadowy figure who listens to the same irritating children's tune before making his murderous strike.

Meanwhile the jazz pianist, David Hemmings staggers back home through largely deserted streets but stop to have a chat with the street wino. As he continues home, Hemmings the final and most brutal rites of the murder as the hatched is hacked downwards leaving the victim impaled on the shards of her window pane - another personal favourite of Dario - the whole glass shard in the neck thing!. It's all done with typically slick and entertaining Argento style and is also quite breathtakingly shocking in the brutality of its violence. Lets keep in mind that this version is the "uncensored complete" cut which may explain some of the gore on display as well as the bits that drag as this cut is a whopping 20 minutes longer than the theatrical version..

The film is off to a flyer, but alas the focus meanders just a little and we have prolonged scenes of humourous banter between the pretty journalist Daria Nocaladi (cowriter of Suspiria)and Hemmings. Much tension is dissipated through these episodes and the film ends up labouring at times. However there are some truly marvellous set pieces which elevate Deep Red from the usual Euro Slasher fare.

The death scenes and the preludes to them are where Argento excels. The film has clearly been an influence on numerous modern horror films as there appears a sense of déjà vu every now and Deep Red was made years before the Halloween slasher craze hit home. Interesting also is the casting of David Hemmings who had become famous for an almost identical role in Antonioni's Blow up where he also "witnesses" a death and is looking for clues in a picture.

Hemmings, recently seen in Gladiator does a reasonable job and looks positively brilliant compared to some of the other performers on display. Goblins synth-rock score is full of vigour and er, noise, but clearly is another characteristic of this phase of Argento's work.

Deep Red certainly has its moments and it's not difficult to see why it has some ardent admirers, however for us, Suspiria remains the jewel in the Dario Argento crown. Though the finale is hugely enjoyable and the tricks that the director employs are sometimes quite dazzling, one is left somewhat bewildered as to the plausibility of the killer. Than just as the urge to dissect the movie for what seem like gaping plot holes emerges - one is reminded that its best NEVER to examine an Argento movies for plot consistency or realism - just take them for what they are - lurid, gruesome (s)lashings of style over substance and to the most part, wonderfully entertaining.

I have to admit to having suffered a most terrible side effect from watching this movie…..going around the house humming that horrendous children's rhyme which was the killer's motif - latent murderous tendencies no doubt!