Posts Tagged With: FAB Press

“The Ever Popular Tortured Artist Effect”… FEAR, The Autobiography Of DARIO ARGENTO, Reviewed.

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FAB PRESS. H/B. 279 Pages. ISBN: 978-1-913051-05-1
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Picture the scene… Winter, 1976 and Dario Argento is stopping at the Hotel Flora on Via Veneto. Having proved the industry doubters wrong by scoring an international hit with his debut feature The Bird With The Crystal Plumage (transforming the giallo genre into box office gold in the process) and earning comparisons with Hitchcock on account of that and his follow up thrillers, Argento is putting the final touches to his masterpiece, Suspiria (1977). You might think he’d be feeling upbeat, but no… wounded by the recent defection of Daria Nicolodi with their infant daughter Asia, he’s seriously considering throwing himself out of the window.

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Must be the grit in life’s oyster that yields these pasta paura pearls. Lucio Fulci, of course, had a biblically miserable time of it and Mario Bava, despite his witty, urbane facade, was reportedly an unhappy and deeply neurotic man… quite the Pollyanna, though, when compared to Dario Argento, who confesses in his long-awaited autobiography to anorexia, gluten / lactose intolerance, paranoia, pharmaceutical and sexual excesses, drug busts, bankruptcy and a plethora of phobias including a fear of other people touching his hair, for which reason he’s always cut it himself (who’d have thunk it?) “The foreigner theme to me is fundamental…” sez DA: “I know what it means to be different to others because I’ve lived it”. Growing up, he was taunted by other kids due to his skinniness and no doubt his exotic physiognomy, traceable to his Brazilian mother, the noted fashion photographer Elsa Luxardo.

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Argento’s precocious discovery of Edgar Allan Poe (“In the blink of an eye, without interruption, I went from masturbation to the cult of horror and mystery”) afforded him both a refuge and a pointer to future glories. Despite his family’s film biz lineage, Argento’s was no easy passage to success in the Italian industry. Bird With The Crystal Plumage, now an acknowledged game changer, was made in the face of opposition from hostile executives (“Is it a giallo?” asked the horrified Titanus boss, Goffredo Lombardo) and a cast / crew who were initially unsympathetic to Argento’s technical orientation. His solution? To treat them like the Scout troop he had led in his boyhood. Then began the ceaseless skirmishes with censorship…

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Argento’s unusual life and remarkable Art have always reflected each other, sometimes in ways not immediately apparent to the director himself… he relates that he was mortified when friends pointed out how closely the destructive relationship between Michael Brandon and Mimsy Farmer’s characters in Four Flies On Grey Velvet (1971) paralleled that between himself and his wife Marisa Casale, to whom Farmer allegedly bears a close physical relationship. We learn precious little about Marisa but Argento is more candid about e.g. his torrid affair with Marilù Tolo. More importantly, he finally gives something like proper credit to Daria Nicolodi for the influence she has exerted over his life and career. He obviously makes much of their daughter Asia’s successful acting career, nor are we left in any doubt how much he dotes on his first daughter Fiore.

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Most readers will probably be more interested in the inside information and anecdotes from the making of Argento’s films and Fear delivers all that in spades, also taking in side projects, non realised (including opera) productions and such career missteps as 1973’s The Five Days Of Milan (just think, if that had one been a success, this book might well have been titled Historical Drama – The Autobiography). Dario admits towards the end of Fear that his more recent efforts are nowhere near as highly regarded by fans and critics, a fact that he’s already acknowledged by condensing coverage of the sequence from Trauma (1993) to Dracula In 3D (2012) into 35 of the book’s 279 pages. We’ve all speculated on the reasons for this drop off, but anyone searching for a clue might care to ponder Dario’s observation that he made The Card Player (2004) in accordance with the Dogme principle that “special lighting is not acceptable”? Just imagine if he’d taken that principle on board before shooting Suspiria, eh?

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Dogme, my arse…

Ah well, this is a time to praise Argento for his incomparable heyday rather than quibble about his career coda. Given that this is a FAB Press publication, it goes without saying that the production values and presentation are, er, fab and the text is accompanied by personally selected photos from il maestro’s private archive. Fear is a fascinating and disarmingly frank memoir which I concluded in one avid sitting. One minor grouch, I would have liked to hear a lot more about his working relationships with Sergio Leone, Mario Bava and lucio fulci. Maybe in an expanded second edition?

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“It’s A Very Nice Book… Very, Very Interesting!” Stephen Thrower’s Fulci Tome BEYOND TERROR Recast In Truly Epic Proportions

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Blessed is he who approaches in search of knowledge…

Beyond Terror – The Films Of Lucio Fulci by Stephen Thrower. FABPress. H/B. ISBN 9781903254844

Given the dispiriting circumstances of his personal encounter with Lucio Fulci (detailed  for the first time herein), Stephen Thrower’s magnificent Beyond Terror – The Films Of Lucio Fulci emerged as a veritable phoenix from the flames when first published by Fab Press in 2000. Two decades(ish) later, pains-takingly revamped and thoroughly revitalised (“120 new pages… 80,000 words of all new writing!”), it now soars to peaks only previously occupied by Tim Lucas’s Mario Bava meisterwerk All The Colors Of The Dark.

Thrower is a thoughtful and passionate writer (there can’t have been too many reviewers of The House By The Cemetery who concluded their appraisal with a line like: “In a subtle way, the end is just as terrible a trap for Bob as it was for John and Liza in The Beyond; he’s returning forever to a house that can never be home”) so I’m looking forward to acquainting myself over the coming weeks and months with the ways in which his takes on various aspects of Fulciana have evolved. Most obviously, though, the updated version comes with completely new sections and gives a thorough going-over to stuff that was only hinted at, first time out.

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The hugely expanded survey of Fulci’s comedies is very welcome (though for me, personally, there’s more than a trace of “he watched them so I don’t have to” wrapped up in this welcome). Similarly, the new section on Fulci’s sound track composers is impressive stuff, though I believe Keith Emerson’s contribution to Murder-Rock merits more than the dismissive brush off it gets here (these things ultimately boil down to personal taste, of course and I freely admit that my position on this subject has always been – very much – the minority one). While I’m quibbling, I wonder about the relevance of Julian Grainger’s filmographies of all the major players in Fulci’s films – an undeniable feat of scholarship and gluteal fortitude – in the age of IMDB, although no doubt there are those who’ll find use for it. It goes without saying that the revamped BT is stuffed to bursting with more colourful, rare and distressing stills, posters and behind-the-scenes shots than you could comfortably shake an eye-poking stick at.

There’s a mouth-watering round up of (thirty!) Fulci projects that were mooted but never made and Thrower’s access to the BBFC’s archives yields fascinating insights into the thought processes of those tasked with cutting or denying certification to Fulci’s films at a time when such matters were virtually equated with national security. Hm, I wonder which film occasioned them the most consternation…

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It says “Exit”, Alessandra… do not entry!

The addition (to the special edition) of an interview with LF is a nice touch though (to paraphrase Mandy Rice Davies) I would say that, wouldn’t I? Said special edition also comes in a beautiful wraparound reproduction of The Beyond’s Book Of Eibon (which, regrettably, doesn’t burst into flame to the accompaniment of Fabio Frizzi music after you’ve read a couple of particularly portentous passages… no doubt Stephen and Harvey Fenton are working on that for a possible third edition) and with a DVD collection of trailers for 37 of Fulci’s 54 directorial credits. If that’s not enough for you (hard to please, huh?) there’s the option to run them with a commentary track by the author and an accompanying booklet throws up whole new and bewildering vistas of ultra-specialist film studies, detailing the use of alternative trailer takes from the ones that actually made it into the movies and offering glimpses of scenes that were abandoned altogether.

This is film scholarship run wild and we’re all better off for it. Do you wanna buy the book? If not, you’re probably reading the wrong Blog. If so, Save yourself twenty years or more of angstily anticipating some future edition. Get it while you can.

Woe be unto him who acts the tightwad over this…

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Mace liked it so much, he went out and got ink…

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