text: The murders in Opera are not actual murders as much as they are symbols of past events and parts of Betty's own fractured personality. In fact, Betty is the same person (a male) that Suzy Bannion is in Suspiria, only a decade later in life (Suzy was a boy of ten who befriended another boy of ten with a more mild version of his own background).<br /><br />It helps to think of Betty's luxury apartment as a military barracks bay; she spends most of her time in her bedroom in bed next to her stereo it seems, and other parts of her apartment seem foreign to her somehow, as though other people live in those other rooms.<br /><br />Dario Argento's movies sync with a wide array of Rock music, as well as Funk (Dario starts the syncs right at the beginning of his films, the flash of the eye in Opera, and the start of a drum roll in Suspiria). There are also standard movies that Opera (and Suspiria) sync with. For example, Opera syncs with with a record album by Judas Priest called Priest ... Live (as does Suspiria), and Suspiria syncs very well with a Kiss record album entitled Kiss Alive II. Movies like Rosemary's Baby, The Exorcist, The Image, and The Vampire Happening are sync movies Argento uses which deal with the same subject matter as Argento's films. These syncs, along with many others reveal Betty to be a male who suffered sexual torture at the hands of his father since birth (even in the womb according to a certain Anne Rice novel entitled Lasher).<br /><br />Anyway, large budget films are occult works which relay spy information collected by occult means, all in synchronized symbolic/alchemical fashion. Usually, the sync point in a film is the beginning of the sound score, or it is the first image of the film beyond any film company lead-in. Sometimes it is more creative. The heavy metal music used in Opera and Phenomena are simply music syncs that were deciphered out of other films that Argento's movies sync with, an intellectual game of sorts among the elite within the industry.<br /><br />So, Betty doesn't respond normally to the murders she witnesses because she didn't ever witness a murder of any real person. "She herself" simply suffers soul murder; she witnesses her own "murder;" this individual's father almost dropped him down an abandoned mine shaft in Arizon at age 4, in 1970; he was on the verge of falling off a wood plank his father balance him on before dad changed his mind and grabbed him and yanked him back off it; the kid felt nothing consciously. Memories of sexual torture are lost to this individual via extreme sexual repression, and the vague memories which remain are of the big, square, deep hole in the desert and no significance is placed on this memory because of the lack of conscious trauma (the "loss of trauma," also a "buried trait," is portrayed in the 1975 film entitled The Image). Those sausages up in the attic in Suspiria are each individual memories of the first three or so years of a life (Toys In The Attic).<br /><br />The reason Betty (or Suzy) is a female character is because the individual Christina Marsillach's character mirrors is a male who has been trained into a female role of sorts since birth (all of the DVD's of the Simpsons cartoon sync with Suspiria), with his very nature having been molded along "queen" lines (The X-Files episodes sync with Opera). This has even altered his body to be "beautiful" in the way a woman's is. Behavior alters genetics. A more recent movie entitled Death Proof deals with the same ideas and the same individual.<br /><br />Virtually the entire life of this person is mirrored on large budget films, record albums, and books made since 1966, and father prior to 1966 and after. The Scorpions album entitled Virgin Killer is a Suspiria sync album, the original album cover acting as a symbolic mirror image of the fall through the skylight.