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Italian filmmaker Dario Argento’s horror films have been described as a blend of Alfred Hitchcock and George Romero—psychologically rich, colorful, and at times garish, excelling at taking the best elements of the splatter and exploitation genres and laying them over a dark undercurrent of human emotions and psyches. Broken Mirrors/Broken Minds, which dissects such Argento cult films as Two Evil Eyes, The Bird with the Crystal Plumage, Suspiria, and Deep Red, includes a new introduction discussing Argento’s most recent films, from The Stendahl Syndrome to Mother of Tears; an updated filmography; and an interview with Argento.
- Sales Rank: #1399868 in Books
- Brand: Brand: Univ Of Minnesota Press
- Published on: 2010
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .90" w x 5.50" l, .82 pounds
- Binding: Paperback
- 296 pages
- Used Book in Good Condition
From Booklist
Virtually unknown to mainstream moviegoers in the U.S. and even to most connoisseurs of foreign films, Italian director Dario Argento is highly esteemed among aficionados of the cinematic extremities. He's been called the Italian Hitchcock, but his work--11 films in the horror and thriller genres during the last 25 years--is far more lurid and violent than Hitchcock's. Argento often dispenses with such niceties as character development and narrative coherence in favor of the over-the-top effects his fans love; for example, in one film, a killer's madness is illustrated by shots of his pulsating brain. Most of Argento's American following consists of "psychotronic" types who disdain the scholarly critical approach, but for its verve, individualism, and technical virtuosity, Argento's work warrants such treatment. McDonagh strikes an effective balance between intellectuality and enthusiasm, offering film-by-film commentary enlivened by a generous helping of poster and production-still reproductions and topping everything off with a recent interview with Argento in which he admits, "I like when people are disgusted, because it means you've made an impression on them. A deep impression." Gordon Flagg
About the Author
Maitland McDonagh is a film critic and TV commentator who maintains her own Web site, MissFlickChick.com. She was the senior movies editor of TVGuide.com from 1995 to 2008.
Most helpful customer reviews
10 of 10 people found the following review helpful.
Fascinating look at the Gialli Rancher
By C. Fletcher
This is a great book. If you're a fan of Dario Argento, the Italian maestro of horror, or if you're just a fan of well-made, artistically-minded horror films, you should read this book (and should take a closer look at the films of Dario Argento).
"Broken Mirrors/Broken Minds" is out of print, but you can buy a used copy through Amazon.com (as I did) for a cheaper price. But then you must prepare yourself for a whirl-wind.
This book discusses in intimate detail the films of the great Dario Argento. The introduction gives us some context of who he is (ex-film critic, master of the beautiful and profane), where he came from (an Italian movie-making family and the tutelage of spaghetti-western-maker Sergio Leone), what he does (makes a particular style of thriller called a giallo and often draws on the broken imagery of dreams for his most effective material).
Then we're off on a film-by-film analysis of Argento's career. We study the films he's made, the choices he's made within those films, and gain an appreciation, if we don't already have one, of why this Argento is such a unique, talented film-maker.
"Broken Mirrors/Broken Minds" often reads like the film school thesis which it is. Words and phrases like "diegetic," "filmic," and the old favorite "mise-en-scene" abound. But you shouldn't let that deter you, even if you aren't of the overly critical, or analytical stock. There is a lot of fascinating stuff in this book, and you're sure to walk away from it with a bigger, more profound appreciation for the films and career of one of the greats in the horror field, Dario Argento. And if you haven't seen all of Argento's films, or if it's been a while, reading this book is a great excuse to catch up on them.
What surprised me most about this book was that it was written by a woman. I didn't realize until I turned the last page of the book and read the "about the author" section that Maitland McDonagh has two X chromosomes. I guess I assumed because of the subject matter--the deliriously violent, at times arguably woman-unfriendly world of Dario Argento's deep red "filmic" nightmares--that a man must have written the book. But what a great perspective is given from the eyes and mind of a woman writing intelligently about horror films. You must go get this book.
4 of 4 people found the following review helpful.
Amazing work on an interesting filmmaker
By Steven Grogan
Maitland has written a very admirable study of one of the world's most interesting horror filmmakers. She even goes to the trouble of defending the more nonsensical moments of Arengto's films. For example, the scene in Suspiria where a murder victim stumbles across a room full of barbed wire makes no logical sense, but after you read Maitland explain how Argento works (kind of like surrealists, he uses a technique called "Automatic writing" which involves very little, if any, editing) you begin to understand that maybe Argento isn't neccesarily TRYING to make sense. At any rate she does a fine job of defending him, as well as delving into recurring themes. One of the better books on a director you will ever read.
1 of 1 people found the following review helpful.
Psychoanalyzing the Giallo Master and His Films
By John Stewart
I must say I have not read the added material in this new edition of Maitland's study on Argento and am not eager to - not because of her but because of him - Argento, Giallo Master. I read Maitland's original hardcover and bought it when she and Argento appeared together at a Brooklyn series of screenings of some of his films many years ago. She kindly signed my book which was a red and white hardcover of a knife slashing down as I remember, from Suspiria no doubt - as was the title which I recognized and loved immediately. It promised a serious, in depth study of his films,(one of the first to do so), placing them in the revered canon of greatest horror films. The study is so well written and interesting and I like how she went chronologically from film to film and plumbed the depths of each one, offering myriad insights and discussing influences on certain films from other directors, i.e. the maid waiting in the park in Four Flies/the lover waiting in the graveyard in Lewton's The Leopard Man. It seems Argento is half influenced by Val Lewton and half by Mario Bava (which he oddly denies) - both terrific influences but Argento makes his own unique films with his own energy level second to none. She also mentions Bird is adapted from the great mystery writer Fredric Brown's classic The Screaming Mimi. Though Brown is uncredited. Since Maitland's book was originally published, scores of unseen giallos became available for viewing and I found many more influences on Dario's films from them. But during his great years he remained the master. Maitland takes a look at his work from an intellectual, scholarly viewpoint which I am fascinated by big time. At last she was legitimizing his films as having artistic merit and recognizing his unrelenting baroque style as a major technique in genre film making of the 70's and 80's. Her book ended with Two Evil Eyes (of which I recall she viewed a bit suspiciously) and apparently in a revision, she reviewed Trauma, which I did not read. Argento became an uninteresting filmmaker to me after the last of his masterpieces OPERA, so I do not know this author's take on his later oeuvre; the only work Argento did after 1987 that I liked was the rather charming/inoffensive Do You Like Hitchcock? and Insomnia, his so called return to pure giallo, with its several legitimate set pieces, but it still is not one of his greats, but a decent offering at least (minus the Deep Red rip off sequence). His other films from 1987 on are complete washouts IMHO. But Maitland captures his years of greatness beautifully - from Bird to Opera - in the version of her book that I read.
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