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Poll

Your Favorite Dario Argento Films are ...

don't Like Any
1 (6.7%)
haven't Seen Any
8 (53.3%)
The Bird with the Crystal Plumage (1970)
1 (6.7%)
The Cat o' Nine Tails (1971)
0 (0%)
Four Flies on Grey Velvet (1971)
0 (0%)
The Five Days (1973)
0 (0%)
Deep Red (1975)
0 (0%)
Suspiria (1977)
4 (26.7%)
Inferno (1980)
0 (0%)
Tenebre (1982)
0 (0%)
Phenomena (1985)
1 (6.7%)
Opera (1987)
0 (0%)
The Black Cat (from Two Evil Eyes) (1990)
0 (0%)
Trauma (1993)
0 (0%)
The Stendhal Syndrome (1996)
0 (0%)
The Phantom of the Opera (1998)
0 (0%)
Sleepless (2001)
0 (0%)
The Card Player (2004)
0 (0%)
Do You Like Hitchcock? (tv) (2005)
0 (0%)
Mother of Tears (2007)
0 (0%)
Giallo (2009)
0 (0%)
Dracula 3D (2012)
0 (0%)
The Sandman (2018)
0 (0%)

Total Members Voted: 15

Author Topic: Argento, Dario  (Read 8310 times)

mañana

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Argento, Dario
« Reply #30 on: May 29, 2015, 02:12:57 PM »
Haven't Seen Any
« Last Edit: May 30, 2015, 12:44:42 PM by 1SO »
There's no deceit in the cauliflower.

verbALs

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Re: Argento, Dario - Directors Best Poll
« Reply #31 on: May 29, 2015, 02:54:40 PM »
Watch Suspiria.

It's an experience.
I used to encourage everyone I knew to make art; I don't do that so much anymore. - Banksy

Sam the Cinema Snob

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Re: Argento, Dario - Directors Best Poll
« Reply #32 on: May 29, 2015, 02:55:09 PM »
Haven't Seen Any
You're killing me, Smalls.

mañana

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Re: Argento, Dario - Directors Best Poll
« Reply #33 on: May 29, 2015, 03:01:19 PM »
Will try harder.
There's no deceit in the cauliflower.

oneaprilday

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Re: Argento, Dario - Directors Best Poll
« Reply #34 on: May 30, 2015, 11:35:32 AM »

Dave the Necrobumper

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Re: Argento, Dario
« Reply #35 on: May 31, 2015, 03:48:18 PM »

Corndog

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Re: Argento, Dario
« Reply #36 on: March 29, 2016, 01:17:59 PM »
1. Suspiria (3)
"Time is the speed at which the past decays."

1SO

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Argento, Dario
« Reply #37 on: July 16, 2016, 12:26:04 AM »

Suspiria (1977)

Hitchcock > DePalma > Argento

3rd rate, but like DePalma there's still the occasional dynamic shot or sequence that makes you realize the excitement of a visually operatic style.  I think the opening set piece of Susperia is a perfect example.  It makes little narrative sense, but the use of lighting, garish set design and in your face scoring do set one's nerves on edge.

There's a wealth of bad films out there that contain scenes whose bold originality make the whole experience worthwhile.  I'll take Argento over the glut of bland PG-13 horror any day.

How do you solve a problem like Suspiria? On audio and visual terms it is truly unlike any film I have seen, which may come off as hyperbole considering how many movies I've seen. It is also unbelievably riddled with a severe case of The Dumb, to the point where its defenders hide behind the excuse of "dream logic" to try and wave away all problems in a single stroke. After watching, I went back and listened to Filmspotting (Cinecast) #57 where Adam and Sam have a major disagreement over Suspiria. Adam found it cinematically effective and Sam thought it was unintentionally funny.

I think they are both right, which is the problem. While giving you thrills in a way you've never experienced before, filmmaker Dario Argento is also shooting himself in the head with shots and editing choices that are downright inept. Never mind story. Even if I accept the dream logic defense, the shock scenes keep slapping you in the brain, like pressing the first victim's face against a window, where she makes comical expressions. And then suddenly she's on the roof!?! Meanwhile the roommate runs through the halls in a hysterical fit like she can see what's happening.


Or how about the razor wire scene? Dream logic can explain the existence of such a room, but the character would be looking at the danger before she blindly dives into it. Argento is only playing with the audience because he frames the shot (above) so we cannot see the wire. The woman, however, cannot possibly miss it. And why does she choose this path? Because the killer is trying to open the door latch with a straight razor. Why can't he lift the latch? We clearly see it wouldn't be difficult, but instead we get endless shots of the razor playing with the latch like he's struggling. It goes on so long even the blistering score gives up.

The bad choices are a shame because technically Argento is onto something cinematically new, and I don't think he made another film that was so visually audacious. The set design is one of the few in cinema history that can rival Wes Anderson and his liberal use of red, blue and yellow is continually interesting. His best shot that doesn't come with a mental sidebar is when the lights go out for the girls to sleep and the room goes from stark white to deep red with black body silhouettes. The score by Goblin is classic, but it rarely seems to be in the same rhythm as the editing and on the Blu-Ray it's about three times louder than the dialogue. (Then again, I'm old.)
Rating: * * 1/2

p.s. Joan Bennett is in the film. I'm a big fan of her work from the 30s and 40s. All I can say about her being a part of this is... Wow!
« Last Edit: February 14, 2018, 07:34:58 PM by 1SO »

1SO

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Re: Argento, Dario
« Reply #38 on: February 15, 2018, 01:17:58 AM »

Deep Red (Restored Version, 1975)

Part of what draws me back to Argento is that he's really trying. He doesn't just make slashers, he makes murder mysteries. Too bad the killer usually turns out to be someone so far in the background their unseen presence and ability to be everywhere necessary makes them highly unlikely. He doesn't just go for the violence, there's usually a splash of style, often undone by the cheese of low budgets and unpolished makeup effects.

Deep Red doesn't have the bold colors of Suspiria, but really none of Argento's other films do. (And why is that? It's that film's one best quality.) So Deep Red can be seen as more sophisticated, highbrow work, especially in the complete two-hour cut. It's easy to see what was never intended for American release, that's when the film slips into Italian with English subtitles. I can't say that any of the edits were bad ideas, but it does create more of a fancy meal instead of fast food.

There are a couple of clever clues, the murders are well staged and there's a super freaky bit with a mechanical doll that from my research seems to be the film's most memorable moment. The film also features a score by Goblin, which is a mix of awesome and cheesy. Like most of Argento's best films, there's a lot here I want to praise but the narrative never comes together to create a satisfying experience.
Rating: ★ ★ ½
« Last Edit: February 16, 2018, 10:01:04 PM by 1SO »

Sam the Cinema Snob

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Re: Argento, Dario
« Reply #39 on: July 25, 2019, 11:07:28 AM »
Suspiria
Inferno
Mother of Tears

 

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