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In this compelling documentary about Italian filmmaker Dario Argento, there is a notable moment towards the end where his daughter Asia reflects on his mindset after attending the 2019 David di Donatello awards, Italy’s equivalent of the Oscars. Despite his extensive career, spanning over 84 years, Argento had never received a David for any of his unique and unconventional films, including Profondo Rosso (1975), Suspiria (1977), and Tenebre (1982). However, that year, he was finally honored with a lifetime achievement award by the Italian Academy. Asia remembers her father’s nonchalant reaction upon returning home from the ceremony, as he simply shrugged and uttered “sticazzi” – meaning “who cares?” It is clear that Argento’s main focus is on the quality of his work itself, rather than the recognition it may or may not receive.
This film, however, gives off a strong sense of paying tribute to a lifetime of accomplishments. It is filled with praises and nostalgic stories about Argento’s enthusiasm on set and his meticulous attention to details, such as when he continuously checked the sewing needles placed dangerously close to actress Cristina Marsillach’s eyes during the filming of Opera (1987). Another example is how the makeup team effectively covered up Asia’s stomach tattoo for a scene where she loses her virginity in The Phantom of the Opera (1998) while her grandmother was present on set. It is quite remarkable how director Simone Scafidi allows Argento’s darker side to shine through amidst all the hype surrounding his brilliance.
The documentary, made in collaboration with the director, features an interview with him at a hotel where he is supposed to be working on a new screenplay. He comes across as irritable and critical, but the film does a competent job of compiling his career in a coherent way. Both successful and unsuccessful projects are edited together smoothly, similar to the knife skills in his most violent films. Various colleagues from both in front of and behind the camera reflect on their experiences from the past. For instance, Michele Soavi, who acted and worked as an assistant director for Argento, offers insightful and honest commentary, as does producer Vittorio Cecchi Gori with his deep, booming voice.
Completing the chorus of positive feedback are fellow filmmakers Nicolas Winding Refn, Guillermo del Toro, and Gaspar Noé, who all express their own enthusiastic but perceptive admiration. Del Toro’s comparison between horror filmmaking and hostage negotiation was particularly striking, as well as Winding Refn’s praise of Argento’s ability to create a nearly abstract form of art. However, one minor issue is that the subtitles are not well-edited, and even those who do not speak Italian will notice that the translations often deviate significantly from the original dialogue.
Source: theguardian.com
