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|Also Known As:||Died:|
|Born:||September 7, 1940||Cause of Death:|
|Birth Place:||Italy||Profession:||director, screenwriter, composer, producer, musician|
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telepathic link to insects. All three were significantly reappraised in later decades, but the string of lukewarm releases sent Argento into a brief hiatus from directing.He focused instead on writing and producing for up-and-coming Italian horror directors; he co-wrote and produced the ultra-violent Demons" (1985) and "Demons 2" (1986), about a film which turns its viewers into monsters, for Mario Bavaâ¿¿s son Lamberto, and provided the same for actor-turned-director Michele Soavi on "The Church" (1989). All three were popular hits with American and international audiences, prompting many fans to speculate that Argento was mounting a return to the directorâ¿¿s chair. However, 1987â¿¿s "Opera," about a killer stalking a production of Verdiâ¿¿s "Macbeth," felt like a warmed-over version of his earlier work. The film was also a personal struggle for the filmmaker, whose father died during shooting; his long-term relationship with Nicolodi, which had produced a daughter, future actress Asia Argento, also came to a close during this period.The 1990s proved to be even more disappointing for Argento fans than the previous decade. "Two Evil Eyes" (1990), which saw him reunite with George Romero to direct...
telepathic link to insects. All three were significantly reappraised in later decades, but the string of lukewarm releases sent Argento into a brief hiatus from directing.
He focused instead on writing and producing for up-and-coming Italian horror directors; he co-wrote and produced the ultra-violent Demons" (1985) and "Demons 2" (1986), about a film which turns its viewers into monsters, for Mario Bavaâ¿¿s son Lamberto, and provided the same for actor-turned-director Michele Soavi on "The Church" (1989). All three were popular hits with American and international audiences, prompting many fans to speculate that Argento was mounting a return to the directorâ¿¿s chair. However, 1987â¿¿s "Opera," about a killer stalking a production of Verdiâ¿¿s "Macbeth," felt like a warmed-over version of his earlier work. The film was also a personal struggle for the filmmaker, whose father died during shooting; his long-term relationship with Nicolodi, which had produced a daughter, future actress Asia Argento, also came to a close during this period.
The 1990s proved to be even more disappointing for Argento fans than the previous decade. "Two Evil Eyes" (1990), which saw him reunite with George Romero to direct adaptations of Edgar Allan Poe stories, felt unfocused, while "Trauma" (1993) was an anemic attempt to reclaim his giallo past. The latter was more notable as the first collaboration between Argento and daughter Asia (she had appeared in a small role in "Demons 2"); the pair would reunite several more times over the next decade, including the vicious "Stendahl Syndrome" (1996), about a woman whose susceptibility to the title condition â¿¿ a trance-like state brought on by works of art â¿¿ makes her the target of a cruel rapist-killer. Though notable as the first Italian film to use computer-generated imagery, and for a reunion with Ennio Morricone, "Stendahl" was remembered more for bewildered critical response to scenes of graphic sexual violence visited upon Asia Argento by her own father. The content apparently had little impact upon their own relationship. In addition to appearing in his films, Argento produced Asiaâ¿¿s directorial debut, "Scarlet Diva" (2000).
The string of misfires Argento released during the 1990s caused many fans and writers to ponder if he had lost his unique cinematic touch; unfortunately, his subsequent releases only served to further that notion. 1998â¿¿s "Phantom of the Opera," with Julian Sands as the tragic subterranean dweller and Asia Argento as the singer he loves, was a gore-soaked mess, flush with illogical plotting and absurdly poor effects. "Sleepless" (2000) was marked as a return to his giallo heyday, with Max Von Sydow as a detective investigating the apparent return of a decades-old murderer, but the comparison inevitably helped to sink its chances with audiences. Follow-ups like "The Card Player" (2004) and "Do You Like Hitchcock" (2005) had their moments, but Argento seemed to be floundering in his attempt to recapture his past. A slight return to form came with "Jenifer," an episode of the Showtime horror anthology "Masters of Horror" (2005-07). Though light years away from his traditional subject matter â¿¿ the episode starred Steven Weber as a police detective who discovers and falls for an abandoned woman whose disfigured face and voluptuous body hide a taste for human flesh â¿¿ the gleefully gruesome results offered a glimmer of hope for his fading fanbase. A second episode of the series, entitled "Pelts" (2007) and starring Meat Loaf as a cruel fur trader driven to commit horrible acts by the spirits of the slaughtered animals, was one of his most over-the-top projects in regard to wall-to-wall gore.
In 2007, Argento completed the long-gestating "Three Mothers" trilogy by releasing "Mother of Tears," with Asia Argento as an art restoration expert who discovered a relic announcing the arrival of the titular witch, who would unleash an apocalypse on the world. As outrageous as any of his previous supernatural films, "Tears" featured reunions with many of his longtime collaborators, including Nicolodi as Argentoâ¿¿s mother and Udo Kier, who had appeared in "Suspiria" three decades before. The subject of intense debate among fans and critics, who declared it a failure and one of his best works with equal fervor, "Tears" was Argentoâ¿¿s first international box office success in years. Two years later, Argento again returned to his past with "Giallo" (2009), with Adrian Brody as a police inspector on the trail of a killer who abducts women in an unlicensed taxicab. The project turned out to be the latest disappointment for the director, who claimed that the producersâ¿¿ edit did not match his own vision. In 2010, Argento was back in the news thanks to the wave of modern horror films remaking classics from the past; "Pineapple Express" (2008) director David Gordon Green convinced Argento to grant permission to remake "Suspiria," while George Romero was slated to take a pass at "Deep Red" in 3-D.tor for an episode of a TV suspense anthology called "Door into Darkness" (RAI, 1973), Argento stepped away from the horror genre to try his hand at a period comedy about the 1848 Italian revolution called "Five Days in Milan" (1973). Neither proved very popular, so he soon returned to the horror genre. 1975â¿¿s "Deep Red" was widely considered to be one of his best thrillers, and a high water mark for the giallo subgenre. Though the core plot resembled his "Animal Trilogy" â¿¿ music teacher David Hemmings becomes obsessed with the murder of a psychic, which in turns puts his own life in danger â¿¿ Argentoâ¿¿s mastery of suspense was more assured, and the violence more gruesome. Adding to the mix was the unsettling electronic score by the Italian avant-garde group Goblin, and the presence of actress Daria Nicolodi, who would become Argentoâ¿¿s muse, collaborator and off-screen partner.
"Deep Red" was a major international success, and allowed Argento to commence on his most ambitious project to date. Based on a story told to Nicolodi by her grandmother about encountering witches at a school, as well as the writings of English fantasist Thomas de Quincey, "Suspira" (1977) was an all-out assault on the audiencesâ¿¿ senses; the plot, which concerned American ballet student Jessica Harperâ¿¿s discovery that the German school she attends harbors an ancient witch, was secondary to Argentoâ¿¿s deeply saturated visuals, a hypnotic score by Goblin (which Argento played during shooting to disorient his actors) and some of the most vicious murder set pieces ever committed to film. Widely regarded as one of the best horror movies ever made, "Suspiria" elevated Argento from the grindhouse to the arthouse, with critics re-evaluating his early work and fans declaring their allegiance.
While "Suspira" was shocking moviegoers across the globe, Argento was teaming with an American contemporary to produce another horror classic. Director George Romero was struggling to raise financing for "Dawn of the Dead" (1978), his ambitious follow-up to the 1968 zombie classic "Night of the Living Dead," and Argento stepped in to not only provide the initial funding, but arranged for Goblin to provide the score. In exchange, he secured the international distribution rights, and released a shorter, faster-paced version to non-English speaking territories. A massive critical and box office hit, it only further bolstered his standing among the world cinema community. However, his work during the 1980s failed to strike the same chord as "Suspiria." 1980â¿¿s "Inferno" â¿¿ part of a proposed trilogy that began with "Suspiria" â¿¿ featured jaw-dropping visuals and optical effects by Argentoâ¿¿s mentor, Mario Bava, but 20th Century Fox failed to give it the proper exposure. "Tenebre" (1982) with Anthony Franciosa as a horror writer whose works inspired a serial killer, was dismissed by fans and critics alike, as was "Phenomena" (1985), which starred a young Jennifer Connelly as a student with an apparent
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CAST: (feature film)
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ssmal609 ( 2007-05-25 )
Source: "Broken Mirrors/Broken Minds: The Dark Dreams of Dario Argento" Maitland McDonagh
Milestone: (1975) Began his 12 year collaboration with Dario Nicolodi beginning with Deep Red (1975) and ending with Opera (1987).
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