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Dario Argento (born 7 September 1940) Italian horror director, producer, and screenwriter best known for his unique visual style and seminal work in the {{giallo}} sub genre. Though never particularly coherent or well written, his films remain quite frightening and ''very'' cool to look at when he's at the top of his game. Widely considered to be at his peak during the seventies and eighties, with ''Deep Red'' (aka ''Profondo Rosso'') and ''Suspiria'' usually cited as his best work, and ''Trauma'' as the last really watchable film he made (though ''The Stendhal Syndrome'' is slowly becoming [[VindicatedByHistory appreciated]]).

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Dario Argento (born 7 September 1940) is an Italian horror director, producer, and screenwriter best known for his unique visual style and seminal work in the {{giallo}} sub genre. Though never particularly coherent or well written, well-written, his films remain quite frightening and ''very'' cool to look at when he's at the top of his game. Widely considered to be at his peak during the seventies TheSeventies and eighties, TheEighties, with ''Deep Red'' (aka ''Profondo Rosso'') and ''Suspiria'' usually cited as his best work, and ''Trauma'' as the last really watchable film he made (though ''The Stendhal Syndrome'' is slowly becoming [[VindicatedByHistory appreciated]]).


* ProductionPosse: Frequently works with Daria Nicoldi, his daughter AsiaArgento, and the italian prog-rock band Goblin.

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* ProductionPosse: Frequently works with Daria Nicoldi, his daughter AsiaArgento, Creator/AsiaArgento, and the italian Italian prog-rock band Goblin.

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* ProductionPosse: Frequently works with Daria Nicoldi, his daughter AsiaArgento, and the italian prog-rock band Goblin.

Added DiffLines:

* CreatorKiller: ''Dracula 3D'''s BoxOfficeBomb is the main reason why Argento's hasn't direct other movies ever since.


* ''Film/{{Suspiria}}'' (1977)

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* ''Film/{{Suspiria}}'' ''Film/{{Suspiria|1977}}'' (1977)



* BoardingSchoolOfHorrors: ''Film/{{Suspiria}}'' and ''Film/{{Phenomena}}.''

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* BoardingSchoolOfHorrors: ''Film/{{Suspiria}}'' ''Film/Suspiria1977'' and ''Film/{{Phenomena}}.''



* ColorMotif / ColorWash: Red and [[UnnaturallyBlueLighting blue]], as you can see in ''Film/{{Suspiria}}.'' ''Film/ProfondoRosso'' is also a good example.

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* ColorMotif / ColorWash: Red and [[UnnaturallyBlueLighting blue]], as you can see in ''Film/{{Suspiria}}.''Film/Suspiria1977.'' ''Film/ProfondoRosso'' is also a good example.



* ExecutiveMeddling: Argento's reputation as the most censored man in films; the bulk of his films have been heavily cut for US release, most notably Suspiria (most of the major murder scenes are hacked up to remove just about all of the gore) and Tenebre (released as Unsane) not only lost about ten minutes of key scenes (including the film's two big set piece scenes and the series of flashbacks that explain the killer's motives) but also tact on a disco song over the end credits...
** Similarly, Inferno was sat on for nearly six years before being dumped onto the US market via a video release, Opera was denied a theatrical release when Argento refused to cut an epilogue scene / gratuitous ShoutOut to "The Sound of Music," and Paramount ruthlessly kept "Four Flies on Grey Velvet" from ever seeing the light of day on home video or DVD, and was considered by many to be his only "lost" film until it was finally made available on an official DVD release for the first time, uncut, by MYA Communication Company... In 2009, almost 40 years after after its original release.

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* ExecutiveMeddling: Argento's reputation as the most censored man in films; the bulk of his films have been heavily cut for US release, most notably Suspiria ''Suspiria'' (most of the major murder scenes are hacked up to remove just about all of the gore) and Tenebre (released as Unsane) not only lost about ten minutes of key scenes (including the film's two big set piece scenes and the series of flashbacks that explain the killer's motives) but also tact on a disco song over the end credits...
** Similarly, Inferno ''Inferno'' was sat on for nearly six years before being dumped onto the US market via a video release, Opera was denied a theatrical release when Argento refused to cut an epilogue scene / gratuitous ShoutOut to "The Sound of Music," and Paramount ruthlessly kept "Four Flies on Grey Velvet" from ever seeing the light of day on home video or DVD, and was considered by many to be his only "lost" film until it was finally made available on an official DVD release for the first time, uncut, by MYA Communication Company... In 2009, almost 40 years after after its original release.



* GainaxEnding
* {{Gorn}}

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* %%* GainaxEnding
* %%* {{Gorn}}



* KensingtonGore

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* %%* KensingtonGore



* MindScrew

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* %%* MindScrew



* TwistEnding

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* %%* TwistEnding


* CrowningMusicOfAwesome: Most of his films feature outstanding and bizarre (in the best sense of the word) scores by Italian prog rock band Goblin, and later on by their ex-member Claudio Simonetti.


* BuryYourGays: If there is a gay character in his film, expect them to be killed off.

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* %%* BuryYourGays: If there is a gay character in his film, expect them to be killed off. --ZCE


* EarlyInstallmentWeirdness: His debut ''Film/TheBirdWithTheCrystalPlumage'' in 1970, is the only one of his films that features a [[spoiler: lighthearted]] epilogue compared to all his other works that end abruptly after (an often just as abrupt) climax with the survivors often left staring at their enemies demise.

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* EarlyInstallmentWeirdness: His debut ''Film/TheBirdWithTheCrystalPlumage'' in 1970, is the only one of his films that features a [[spoiler: lighthearted]] epilogue for all important characters that explains all that transpired compared to all his other works that end abruptly after (an often just as abrupt) climax with the survivors often left staring at their enemies demise.demise and leave viewers wondering WhatHappenedToTheMouse?

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* EarlyInstallmentWeirdness: His debut ''Film/TheBirdWithTheCrystalPlumage'' in 1970, is the only one of his films that features a [[spoiler: lighthearted]] epilogue compared to all his other works that end abruptly after (an often just as abrupt) climax with the survivors often left staring at their enemies demise.


An Italian horror director, producer, and screenwriter best known for his unique visual style and seminal work in the {{giallo}} sub genre. Though never particularly coherent or well written, his films remain quite frightening and ''very'' cool to look at when he's at the top of his game. Widely considered to be at his peak during the seventies and eighties, with ''Deep Red'' (aka ''Profondo Rosso'') and ''Suspiria'' usually cited as his best work, and ''Trauma'' as the last really watchable film he made (though ''The Stendhal Syndrome'' is slowly becoming [[VindicatedByHistory appreciated]]).

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An Dario Argento (born 7 September 1940) Italian horror director, producer, and screenwriter best known for his unique visual style and seminal work in the {{giallo}} sub genre. Though never particularly coherent or well written, his films remain quite frightening and ''very'' cool to look at when he's at the top of his game. Widely considered to be at his peak during the seventies and eighties, with ''Deep Red'' (aka ''Profondo Rosso'') and ''Suspiria'' usually cited as his best work, and ''Trauma'' as the last really watchable film he made (though ''The Stendhal Syndrome'' is slowly becoming [[VindicatedByHistory appreciated]]).


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-->'''Betty''': "I should never have taken that part. Why why did I do it."

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-->'''Betty''': "I I should never have taken that part. Why why did I do it."



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* TooDumbToLive: The reason so many people get killed in your average Argento movie is because the protagonists are so goddamn ''slow'' figuring everything out.

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* BuryYourGays: If there is a gay character in his film, expect them to be killed off.


* HandOfDeath: The creepy (to some people, at least) thing is that Argento used to do all his "black gloves" shots as {{InsertCameo}}s, standing in for the killer.

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* HandOfDeath: The creepy (to some people, at least) thing is that Argento used to do all his "black gloves" shots as {{InsertCameo}}s, {{Insert Cameo}}s, standing in for the killer.


An Italian horror director, producer and screenwriter best known for his unique visual style and seminal work in the {{giallo}} sub-genre. Though never particularly coherent or well-written, his films remain quite frightening and ''very'' cool to look at when he's at the top of his game. Widely considered to be at his peak during the seventies and eighties, with ''Deep Red'' (aka ''Profondo Rosso'') and ''Suspiria'' usually cited as his best work and ''Trauma'' as the last really watchable film he made (though ''The Stendhal Syndrome'' is slowly becoming [[VindicatedByHistory appreciated]]).

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An Italian horror director, producer producer, and screenwriter best known for his unique visual style and seminal work in the {{giallo}} sub-genre. sub genre. Though never particularly coherent or well-written, well written, his films remain quite frightening and ''very'' cool to look at when he's at the top of his game. Widely considered to be at his peak during the seventies and eighties, with ''Deep Red'' (aka ''Profondo Rosso'') and ''Suspiria'' usually cited as his best work work, and ''Trauma'' as the last really watchable film he made (though ''The Stendhal Syndrome'' is slowly becoming [[VindicatedByHistory appreciated]]).




His filmography includes:

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!!
His filmography includes:
includes:



He also directed two episodes for the TV series ''Series/MastersOfHorror'': "Jenifer" in season one, and "Pelts" in season two.

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He also directed two episodes for the TV series ''Series/MastersOfHorror'': ''Series/MastersOfHorror:'' "Jenifer" in season one, and "Pelts" in season two.
two.



!!Tropes commonly associated with this director include:

* AcquittedTooLate: ''The Bird with the Crystal Plumage'', ''Deep Red'', ''Tenebre''.
* {{Bizarrchitecture}}: Argento's films might best be described as a series of set-pieces designed to spotlight strange architecture and colors, a trait he shares with Creator/AlfredHitchcock.
* BoardingSchoolOfHorrors: ''Film/{{Suspiria}}'', ''Film/{{Phenomena}}''.
* BodyHorror: Even aside from all the mutilations, there are a number of disfigured or otherwise weird-looking people in these movies.
* ColorMotif[=/=]ColorWash: Red and [[UnnaturallyBlueLighting blue]], as you can see in ''Film/{{Suspiria}}''. ''ProfondoRosso'' is also a good example.

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!!Tropes
!! Tropes
commonly associated with this director include:

* AcquittedTooLate: ''The Bird with the Crystal Plumage'', Plumage,'' ''Deep Red'', ''Tenebre''.
Red,'' ''Tenebre.''
* {{Bizarrchitecture}}: Argento's films might best be described as a series of set-pieces set pieces designed to spotlight strange architecture and colors, a trait he shares with Creator/AlfredHitchcock.
* BoardingSchoolOfHorrors: ''Film/{{Suspiria}}'', ''Film/{{Phenomena}}''.
''Film/{{Suspiria}}'' and ''Film/{{Phenomena}}.''
* BodyHorror: Even aside from all the mutilations, there are a number of disfigured or otherwise weird-looking weird looking people in these movies.
* ColorMotif[=/=]ColorWash: ColorMotif / ColorWash: Red and [[UnnaturallyBlueLighting blue]], as you can see in ''Film/{{Suspiria}}''. ''ProfondoRosso'' ''Film/{{Suspiria}}.'' ''Film/ProfondoRosso'' is also a good example.



* DarkerAndEdgier: His films were already pretty dark to begin with, but in ''Film/{{Tenebre}}'' and ''Film/{{Opera}}'' he diverged from his colorful signature style in favor of a bleaker, harsher approach.

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* DarkerAndEdgier: His films were already pretty dark to begin with, but in ''Film/{{Tenebre}}'' and ''Film/{{Opera}}'' ''Film/{{Opera}},'' he diverged from his colorful signature style in favor of a bleaker, harsher approach.



** Similarly, Inferno was sat on for nearly six years before being dumped onto the US market via a video release, Opera was denied a theatrical release when Argento refused to cut an epilogue scene/gratuitous ShoutOut to "The Sound of Music", and Paramount ruthlessly kept "Four Flies on Grey Velvet" from ever seeing the light of day on home video or DVD, and was considered by many to be his only "lost" film until it was finally made available on an official DVD release for the first time, uncut, by MYA Communication Company... in 2009, almost 40 years after after its original release.
** Some footage was actually missing in the MYA DVD release (to their credit, it wasn't censorship, but print damage) and, once again, where thought to be definitely lost for good. Known amongst Argento fans as the legendary “missing forty seconds”, in 2012 Shameless Screen Entertainment announced their DVD and Blu-Ray release (in order to celebrate the film's 40th anniversary) will have this missing forty seconds.

to:

** Similarly, Inferno was sat on for nearly six years before being dumped onto the US market via a video release, Opera was denied a theatrical release when Argento refused to cut an epilogue scene/gratuitous scene / gratuitous ShoutOut to "The Sound of Music", Music," and Paramount ruthlessly kept "Four Flies on Grey Velvet" from ever seeing the light of day on home video or DVD, and was considered by many to be his only "lost" film until it was finally made available on an official DVD release for the first time, uncut, by MYA Communication Company... in In 2009, almost 40 years after after its original release.
** Some footage was actually missing in the MYA DVD release (to their credit, it wasn't censorship, but print damage) and, once again, where thought to be definitely lost for good. Known amongst Argento fans as the legendary “missing "missing forty seconds”, seconds," in 2012 Shameless Screen Entertainment announced their DVD and Blu-Ray release (in order to celebrate the film's 40th anniversary) will have this missing forty seconds.



* HandOfDeath: The creepy (to some people, at least) thing is that Argento used to do all his "black gloves" shots as {{Insert Cameo}}s, standing in for the killer.

to:

* HandOfDeath: The creepy (to some people, at least) thing is that Argento used to do all his "black gloves" shots as {{Insert Cameo}}s, {{InsertCameo}}s, standing in for the killer.




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