Although billed as a slasher, 1987’s Stagefright is more than that, it’s a tense and atmospheric drama with some very bloody and brilliantly realised murder scenes. On re-watching, after originally seeing it in my teens, I found it infinitely more satisfying than current recycled formulaic slasher offerings. Despite that is, being on occasion so camp and eighties, it was painful to watch. Of course that’s not a problem for a horror fan if you believe the popular media, that paints us all as self harming psychos.

Wrongly regarded as a Giallo (an Italian genre where the central character is a foreigner) the story here is an ensemble piece concerning a theatre company rehearsing a sensational musical about a prostitute killing Owl (honestly). When a real serial killer with a hatred of actors sneaks in to the sound stage and locks the doors the fun begins. That’s the plot plain and simple, no stupidly obvious and unnecessary twists.

Something of a minor classic Stagefright is an Italian production shot in English by Italian actors then overdubbed with English and American voices. The result is much like a spaghetti western. Written by legendary Antropophagus writer, Luigi Montefiori it’s directed by underrated Dario Argento protégé (hence the Giallo tag) Michel Soavi who made a string of highly regarded cult horror films in the late eighties and early nineties. Most notable of these was Cemetery Man (aka Dellamorte Dellamore) with Rupert Everett in 1994.

Obviously inspired by his mentor, Soavi utilises a fantastic creeping steadicam to create foreboding and tension. Shooting from every conceivable angle (up, down, upside down, sideways) the exceptional camerawork adds a sense of movement and space rarely seen in such low budget offerings. It’s refreshing to see imaginative camera movement to create tension rather than “realistic” handheld camera work that serves only to annoy and induce vomiting. The music also excels. Reminiscent of Manhunter and Miami Vice, Stagefright’s score of sweeping and soaring synthesiser music perfectly complements the brash, colourful visuals. A couple of years ago the music would have been derided as cheesy but now culture gurus will pretend it’s uber cool retro chic.

Back in the day Stagefright was cut by the BBFC (British Board of Fascist Censors) certified now it would probably get a fifteen rating, I’ve certainly seen gorier films more recently with that certificate. However the (comparative) lack of gore doesn’t matter because the script is a cut above for a slasher movie with strong central characters and interesting supporting roles. Bizarrely most criticisms (scenery chewing performances and obvious overdubbing) serve only to complement the surreal and over the top sensibilities.

Horror fans particularly should check out Stagefright, like a lot of things from Italy it’s garish and sleazy yet well crafted with passion and has a real sense of style and class. Maybe I’m getting old but it’s a good example that they just don’t make them like they used to.