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C O N T E M P O R A R Y F I L M D I R E C T O R S

Dario Argento

L. Andrew Cooper
 Dario Argento

Cooper_Argento.indd 1 8/27/12 3:56 PM

Cooper_Argento.indd 2 8/27/12 3:56 PM
 Contemporary Film Directors
Edited by James Naremore

The Contemporary Film Directors series provides concise,

well-written introductions to directors from around the
world and from every level of the film industry. Its chief
aims are to broaden our awareness of important artists,
to give serious critical attention to their work, and to il-
lustrate the variety and vitality of contemporary cinema.
Contributors to the series include an array of internationally
respected critics and academics. Each volume contains
an incisive critical commentary, an informative interview
with the director, and a detailed filmography.

A list of books in the series appears

at the end of this book.

Cooper_Argento.indd 3 8/27/12 3:56 PM

Cooper_Argento.indd 4 8/27/12 3:56 PM
 Dario Argento

L. Andrew Cooper

Universit y
of
Illin o i s
Pr e s s
U r bana ,
C h icago,
and
S pr ing field

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 © 2012 by the Board of Trustees
of the University of Illinois
All rights reserved
Manufactured in the United States of America
1 2 3 4 5 c p 5 4 3 2 1
∞ This book is printed on acid-free paper.

Library of Congress Cataloging-in-Publication Data

Cooper, L. Andrew, 1977–
Dario Argento / L. Andrew Cooper.
p. cm. — (Contemporary film directors)
Includes bibliographical references and index.
Includes filmography.
ISBN 978-0-252-03709-2 (cloth)
ISBN 978-0-252-07874-3 (pbk.)
1. Argento, Dario—Criticism and interpretation.
2. Argento, Dario—Interviews.
I. Title.
PN1998.3.A74C66   2012
791.4302'33092—dc23   2012018395

Cooper_Argento.indd 6 8/27/12 3:56 PM

 Contents

Acknowledgments | ix

Dario Argento:
Doing Violence on Film | 1
Against Criticism:
Opera and The Stendhal Syndrome 5
Opera 8
The Stendhal Syndrome 17

Against Interpretation:
The First Five Gialli 23
The Bird with the Crystal Plumage 26
The Cat o’ Nine Tails 37
Four Flies on Grey Velvet 43
Deep Red 52
Tenebre 62

Against Narrative:
The Three Mothers Trilogy and Phenomena 73
Suspiria 75
Inferno 94
Mother of Tears 107
Phenomena 119

Against Conventions:
From Trauma to Giallo 127

Cooper_Argento.indd 7 8/27/12 3:56 PM

 Trauma 129
The Stendhal Syndrome (Revisited) 133
Sleepless 134
The Card Player 137
Do You Like Hitchcock? 140
Giallo 142

Interviews with Dario Argento | 149

Filmography: Feature Films and
Television Directed by Dario Argento | 155

Bibliography | 173

Index | 181

Cooper_Argento.indd 8 8/27/12 3:56 PM

 Acknowledgments

The thinking behind this book has spanned almost a decade, and thank-
ing everyone who has influenced me through discussions of Dario Ar-
gento would stretch these pages and my memory beyond their capacities.
First, I’d like to thank the students who took my course Dario Argento
in Context at Georgia Tech in the fall of 2010. I hope I influenced their
thinking as much as they influenced mine. Colleagues at Georgia Tech
also provided substantive input: Jay Telotte gave me several pointers,
and after a presentation based on the “Against Interpretation” section
of this book, Phil Auslander, Blake Leland, Janet Murray, and Jesse
Stommel asked questions that led to refined claims. Janet’s suggestion
about Argento inhabiting the role of the Italian villain from eighteenth-
century British gothic influenced the “Against Criticism” section, and
Blake’s thoughtful discussion of nihilism influenced “Against Narrative.”
I especially want to thank Paulette Richards, who reviewed and edited
my translations of the French-language interviews at the end of this
volume. Élie Castiel’s interview is translated and reproduced with the
permission of the original author and publisher. Georgia Tech’s Library
and Information Center, particularly the indefatigable staff handling in-
terlibrary loans, also deserves tremendous credit. During the final phases
of manuscript preparation, Tom Byers and my other new colleagues in
film studies at the University of Louisville were extremely helpful and
encouraging. Above all, without Bryn Gravitt’s help as research assistant
and reader, this project might not have materialized.
The discussion of Opera derives from my essay “The Indulgence
of Critique: Relocating the Sadistic Voyeur in Dario Argento’s Opera”
(Quarterly Review of Film and Video 22.1 [2005]: 63–72). It appears
here by permission of Taylor and Francis Ltd. Wheeler Winston Dixon

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 and others at QRFV were very supportive. My first presentation about
Argento occurred at the 2002 meeting of the Southwest/Texas Popular
Culture Association, where Steffen Hantke and others provided help-
ful feedback. Throughout the development of this project, my partner
James Chakan has been a constant reader, advisor, and editor. Watching
and rewatching films, we’ve come to many of the same conclusions,
most of all sharing a conviction that Argento’s works contain a genius
that others would be fortunate to discover.

x | Acknowledgments

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 Dario Argento
Doing Violence on Film

Dario Argento’s films push the limits of visual and auditory experience;
they offend, confuse, sicken, and baffle. Never complacent, Argento
approaches each work as an experiment, and over more than four de-
cades of filmmaking, his commitment to innovation has produced a
broad range of styles applied almost unwaveringly within two closely
related genres—crime thriller and supernatural horror—with results
that are sometimes brilliant, sometimes muddled, and sometimes both.
The films are not to everyone’s taste. Their violence is often so extreme
that even hardened horror veterans will avert their eyes. The extremity
goes beyond gore, reaching previously unrecorded levels of pain, suf-
fering, and mental anguish. Even more disturbing than the extremity is
that Argento makes the combination of carefully arranged details, from
the sets’ colors and shadows to the cameras’ angles and movements, so
fundamentally pretty. Viewers who can stand to look at one of his films
once might very well want to look again.

Cooper_Argento.indd 1 8/27/12 3:56 PM

 The problem of looking, of the desire to see, is central to all of Ar-
gento’s films. From his directorial debut, The Bird with the Crystal Plum-
age (1970), in which a man watches helplessly as a woman is apparently
attacked, to Giallo (2009), in which cop and killer both appreciate photos
of murder victims a little too much, characters watching violence reflect
viewers watching the film, and nobody involved in the exchange escapes
complicity in the horrific spectacles. Argento’s films challenge a viewer’s
accepted ideas about film spectatorship, meaning, storytelling, and genre.
The violence they do reaches beyond their minced murder victims: they
do violence to film itself.
Argento has worked as a writer, producer, director, composer, and/or
editor on more than forty films. He comments in an interview included
on the Blue Underground DVD of The Bird with the Crystal Plum-
age, “I was practically born into the cinema because my father was a
producer.” His initial exposure to the chaotic world of film production
lacked appeal, so he became a film critic instead, a role that taught him
“all the theories about cinema” and thus provided a foundation for the
critical engagement with cinematic conventions that this book traces
throughout his oeuvre. Argento enjoyed working as a critic, but gradu-
ally opportunities lured him into screenwriting. His most notable early
effort was collaborating with Bernardo Bertolucci on the screenplay for
Sergio Leone’s classic western Once upon a Time in the West (1968).
This success helped to create the opportunity for Argento to direct
Bird, which his father, Salvatore Argento, produced. He continued to
collaborate with his father as producer or executive producer on all of
his features through 1982’s Tenebre, and his younger brother, Claudio
Argento, has served in production roles in the majority of features since
1973’s The Five Days of Milan.
Through the production company Opera Film Produzione, Dario
and Claudio Argento have produced a number of features that the elder
brother did not helm, including the directorial debut of Dario’s daughter
Asia Argento, Scarlet Diva (2000). Asia’s own career as an actress began
in the Argento-produced film Demons 2 (1986); she later led the casts of
the Argento-directed features Trauma (1993), The Stendhal Syndrome
(1996), The Phantom of the Opera (1998), Mother of Tears (2007), and
Dracula 3D (2012, projected). Although she has pursued a career in
fashion rather than film, Dario’s elder daughter, Fiore, debuted as an

2 | Dario Argento

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 actress in the Argento-directed Phenomena (1985) and had major roles
in the Argento-produced Demons (1985) and Argento-directed The
Card Player (2004). These familial connections suggest a thin, perme-
able boundary between Dario Argento’s personal life and his artistic
work. Indeed, he has often commented on the pleasure of seeing his
daughters grow up on film, and as this book’s discussion of The Stendhal
Syndrome suggests, Asia’s identity as his daughter becomes a crucial
aspect of the film’s rhetorical challenges to film norms.
While the collaborative roles of his father, brother, and daughters
are important aspects to consider when approaching Argento’s works
as a whole, the most significant collaboration of his career has argu-
ably been with Daria Nicolodi, his onetime girlfriend, Asia’s mother,
and the star of many of his most successful films, including Deep Red
(1975), Tenebre, Phenomena, and Opera (1987). Nicolodi also cowrote
Suspiria (1977), considered by many to be Argento’s masterpiece, tak-
ing inspiration from rumors of witchcraft in her own family history.
She continued to be a creative influence on Suspiria’s sequels Inferno
(1980) and Mother of Tears, both of which feature her as an actress.
This book does not focus on the sort of biographical criticism that Ar-
gento’s collaborative relationships invite, but observing the centrality of
collaboration, particularly with family, in Argento’s work could help to
qualify any illusion of the film director as a solitary author responsible
for the works that this book associates pervasively with a possessive
form of his name. The works that bear the Dario Argento brand are
in some ways profoundly cohesive, which justifies approaching them
as a meaningful collection, but the approach of Dario Argento should
not occlude considering that “Argento’s” works contain facets that far
exceed the efforts of Dario Argento the man.
To establish the cohesiveness that makes Argento’s oeuvre meaning-
ful as such, the critical essay that forms the bulk of this book examines
sixteen films that feature Argento as writer and director. While it includes
a fairly comprehensive overview, with discussions of stories and perform-
ers as well as details about production, it does not attempt exhaustive
treatments of these works, all of which deserve further scholarly atten-
tion. In focusing on how Argento’s films function as rhetorical interven-
tions against dominant views on film criticism, interpretation, narrative,
and conventions, the essay aims to open up interpretive possibilities that

Doing Violence on Film | 3

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 connect the films to broader tendencies in film history. Even as it shows
connections between Argento’s works and works by canonical filmmak-
ers, the argument relates the films to a broader turn away from the
“high-art” and “high-theory” traditions of film and film studies. Argento’s
films inhabit the cinematic worlds of the popular director Mario Bava,
Argento’s closest predecessor in Italian film, and of the canonized artists
Michelangelo Antonioni and Federico Fellini. Thus they have helped
reevaluate cinema, especially “genre” cinema, in terms derived outside
traditional aesthetic and critical paradigms. As this essay demonstrates,
the films have strong roots in romanticism and aestheticism, but their
relentless self-reflection also makes them distinctly postmodern, so even
in their most “traditional” moments of aesthetic flourish, they wield an
iconoclastic, deconstructive edge. The present argument differs from
other studies that have influenced it, especially Maitland McDonagh’s
groundbreaking Broken Mirrors, Broken Minds and the collection of
essays published in the journal Kinoeye, through a consistent focus on
the films’ overarching tendency to challenge the norms of film as an art
form. This tendency emphasizes Argento’s status as a sensationalist and
provocateur whose work uses aesthetic impact to create, comment on,
and at times resolve contemporary controversies.
The essay begins where Argento’s films depart from some of the
normative assumptions that have driven film criticism throughout his
career, particularly those derived from psychoanalysis. It then explores
the films’ aesthetic challenges to narrative structure, and finally, it consid-
ers how Argento’s later works respond to the new norms that his earlier
works helped create. Although the essay explains these norms through
emphasis on films bearing the Argento brand, it could just as easily
illustrate them through discussion of the many films and filmmakers
Argento has influenced, including the acknowledged masters George
A. Romero (who has collaborated with Argento on multiple projects),
John Carpenter (who pays homage to Argento’s 1975 Deep Red in 2005’s
“Cigarette Burns,” an episode of the TV show Masters of Horror), and
Quentin Tarantino (who thanks Argento in the credits of his 2007 film
Death Proof). Argento’s international influence is also clearly visible in
the aesthetic excesses of Japanese horror, exemplified in the works of
Takashi Miike (Audition; 1999), as well as in works by a new generation

4 | Dario Argento

Cooper_Argento.indd 4 8/27/12 3:56 PM

 of filmmakers represented by the French filmmakers Alexandre Aja
(High Tension; 2003) and Pascal Laugier, who acknowledges his debt
to Argento through the dedication of Martyrs (2008).
Despite its emphasis on the unity and influence of Argento’s oeuvre,
this essay eschews a traditional auteur approach: beyond those already
mentioned, biographical details are relatively few, as the extent to which
the films express Argento’s “personal” vision is not a primary question.
When the essay cites interviews, it treats Argento as an interpreter
rather than the authoritative voice on what his films mean. Implicitly,
it demonstrates the usefulness of approaching film as rhetoric and the
cinema as a public and intellectual forum, but the essay’s construals of
specific films should not limit their possibilities for additional or even
contradictory significance. Ultimately, the films speak for themselves,
but they say things that are often ambiguous, equivocal, and difficult.
If they were susceptible to a “final word,” they would not be as worthy
of consideration as they are.

Against Criticism:
Opera and The Stendhal Syndrome
Accusations of sadism have condemned people who create and enjoy
horror fiction, no matter the medium, for as long as horror fictions have
existed, or at least since the Marquis de Sade put his stamp of approval on
Matthew Lewis’s eighteenth-century splatterfest novel The Monk (Cooper,
Gothic, 48). Contemporary critics who want to frame horror’s viewers as
sadistic voyeurs often turn to Laura Mulvey’s foundational 1975 article
“Visual Pleasure and Narrative Cinema,” later incorporated into her book
Visual and Other Pleasures, which explores “the way the unconscious of
patriarchal society has structured film form” (14). Using the films of Al-
fred Hitchcock as a model, Mulvey describes how, in the representational
strategies of many films, “the power to subject another person to the will
sadistically or the gaze voyeuristically is turned onto the woman as the
object of both” (23). By interrogating ways that film reinforces patriarchal
norms that objectify women, Mulvey seeks a “break,” an “alternative” that
uses the language of patriarchal oppression in a gesture of resistance. She
proposes an “alternative cinema [that] must start specifically by reacting

Doing Violence on Film | 5

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 against these obsessions and assumptions” (15–16). By reacting against
these norms, Mulvey’s alternative would expose, condemn, and ultimately
replace the perverse gaze of the sadistic voyeur.
Over time, critiques of this kind of “perversion” have risen to a posi-
tion of dominance through the works of feminists who have taken up
Mulvey’s call. For example, Mary Ann Doane considers Mulvey’s scant
treatment of female spectatorship and concludes that certain films by
Hitchcock and others summon female subjectivity only to negate it, con-
demning female spectatorship to a state that is merely virtual, an absence
(80–81). Also focusing on Hitchcock and seeking a habitable position
for the female spectator, Tania Modleski acknowledges Mulvey’s essay
as “the founding document of psychoanalytic feminist film theory” but
argues for more variable gendered identifications with onscreen violence
against women (1). Modleski sees “a thoroughgoing ambivalence about
femininity” manifested through “the misogyny and the sympathy [that]
actually entail one another” in murderous male characters like Norman
Bates in Hitchcock’s 1960 film Psycho (3–4). Building on her own earlier
work, Mulvey provides a more nuanced view of female spectatorship,
which she claims is masculinized through identifications with the cin-
ema’s endemic male gaze (29–30). While these theoretical approaches to
spectatorship suggest possibilities and pleasures beyond the misogynistic
sadism Mulvey originally described, they still affirm the dominance of
sadistic male voyeurism in representations of violence against women.
In Men, Women, and Chain Saws, Carol Clover explains that people
rarely challenge claims about sadistic voyeurism in the horror film “be-
cause to do [so] would be to take on one of the most entrenched . . .
and status-quo-supportive clichés of modern cultural criticism” (226).
Clover’s work takes on this cliché, arguing that the horror film allows its
viewers to identify with both killer and victim, sadistically and masochis-
tically, regardless of gender; she does “not, however, believe that sadistic
voyeurism is the first cause of horror,” favoring instead both male and
female masochistic identification with the victim (19). In keeping with
Clover’s assertion, Dario Argento’s films contradict anyone who claims
that they predominantly rely on the audience’s sadistic identification with
the violence his camera captures. Two years before Clover first published
her ideas about sadistic and masochistic identification, Argento made

6 | Dario Argento

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 a similar argument in the 1985 documentary Dario Argento’s World
of Horror. Speaking of his point-of-view cinematography, he explains,
“I want the spectator sucked into the scene. I want him to approach
objects, or people. In the end it is you, the spectator, who kills or who
is murdered.” Argento expects his audiences to identify with his films
in varying and multiple ways that go beyond simple determinations of
gender. Discussing how Argento’s films reflect on gender through the
identities of their killers, Adam Knee concludes, “Argento’s killers, in
their variety and obscurity, tend to frustrate most such generalizations
about gender” (215). With his characters as well as his camera, Argento’s
films represent gender and gendered identifications self-consciously,
seldom making them simple or predictable.
Critical responses to Argento’s work provide one explanation of this
self-consciousness. As Chris Gallant states, “Accusations of misogynist
characterizations . . . have surrounded Argento’s output since the begin-
ning of his career” (65). Increasing self-consciousness does not, of course,
exculpate Argento from charges of misogyny. Though she gives Argento
little specific treatment, even Clover includes him in the company of
Hitchcock and Brian De Palma as an artist who has made misogynistic
statements about the roles of women in his art. Argento’s own words seem
particularly damning and have reappeared in many critical assessments
of his work—Clover takes them from William Schoell’s Stay Out of the
Shower (1985): “‘I like women, especially beautiful ones. If they have a
good face and figure, I would much prefer to watch them being murdered
than an ugly girl or man’” (Clover 42). Argento might very well have been
thinking of one of his heroes, Edgar Allan Poe, who, after considering the
importance of beauty in poetry as well as the supremacy of melancholy
as a poetic quality, concludes, “[T]he death, then, of a beautiful woman
is, unquestionably, the most poetical topic in the world” (“Philosophy”
425). The idea that a man attracted to women would prefer to repre-
sent beautiful women is not necessarily misogynistic, but having roots in
Poe’s aesthetic philosophy does not make Argento’s representations of
women’s death (and what Julia Kristeva would call women’s abjection)
any less problematic. However, Argento’s awareness of his critics’ charge
of misogyny serves as a starting point for considering how his 1987 film
Opera works against such criticism and responds to horror’s detractors.

Doing Violence on Film | 7

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