Why Dario Argento thinks the gory scenes of movies are "the most important parts"

The Italian master of garish and supremely elegant horror discussed his beginnings in the film industry as part of the BFI Southbank's Gothic season.

I haven’t seen more than a handful of Dario Argento movies, nor am I an aficionado of giallo, but Thursday evening’s on-stage interview with Argento as part of the BFI Southbank’s Gothic season was a delight. In his chirpy, heavily accented English, the Italian master of garish and supremely elegant horror discussed his beginnings in the film industry, first as a critic and then as co-screenwriter with Bernardo Bertolucci on Sergio Leone’s Once Upon a Time in the West.

Argento himself will never make a western. “I don’t like horses. I don’t like pow-pow-pow [he mimed a quick-on-the-draw gunslinger]. I don’t like landscapes. I like cities. Lots of cities. I like buildings. I like streets.” Leone, he soon discovered, had no truck with talk. He taught Argento that “the camera is master.” “He said, ‘Films are all speak, speak, speak, speak! I don’t like speaking. I like silence. This is cinema.’”

It was a lesson Argento learned well, as proved by one of the excerpts shown during the interview: the sequence from Tenebrae in which the camera prowls up one side of an apartment building, over the roof and down the other side. But in conversation he used words beautifully. At one point, he broke off to recount to us all the story of how he was the victim of a cashpoint mugging in London this week; the way he mapped out the movements of himself and the thief had the zinging clarity of a storyboard. And there was a choice moment when he began a story with the words, “One time I was in jail…” Hold on, hold on—why was he in jail? “Well, a policeman had come into my home, something to do with the finances, and he said, ‘Maybe you have drugs here?’” A small stash of hashish landed Argento in prison for several days. “It is a good experience,” he chirruped. “I meet lots of people. I remember when I was in college—it was no different. Maybe for long time it is terrible…”

A remake of his film Suspiria has been mooted for many years—the director David Gordon Green was trying to make it fly at one point—but Argento was dismissive. “The film is there. If you want to see it, just put the DVD in.”

He was not particularly enthusiastic, either, about most modern horror. “Fear has disappeared. No more fear. In Asia it is different. They’ve discovered again the fear and the psychology of the characters. Without psychology, the horror film doesn’t exist.”

For good measure, we saw a clip from his 1987 film Opera in which a woman has needles taped beneath her eyes to prevent her eyelids clamping shut while her lover is brutally murdered: she has to watch, or risk tearing her eyelids to shreds. A perfect metaphor for the cinema of Argento. He hates it when he hears that viewers have closed their eyes during the gory sections of his movies. “They are the most important parts.” He said that he wishes those needles could be handed to audiences on their way in to see his films. We all laughed—nervously.

Italian film director Dario Argento poses during a photocall for Dracula 3D on November 20, 2012 in a hotel in Rome. Image: Getty

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

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The best film soundtracks to help you pretend you live in a magical Christmas world

It’s December. You no longer have an excuse.

It’s December, which means it’s officially time to crack out the Christmas music. But while Mariah Carey and Slade have their everlasting charms, I find the best way to slip into the seasonal spirit is to use a film score to soundtrack your boring daily activities: sitting at your desk at work, doing some Christmas shopping, getting the tube. So here are the best soundtracks and scores to get you feeling festive this month.

A Charlie Brown Christmas (1965)

Although this is a children’s film, it’s the most grown-up soundtrack on the list. Think smooth jazz with a Christmas twist, the kind of tunes Ryan Gosling is playing at the fancy restaurant in La La Land, plus the occasional choir of precocious kids. Imagine yourself sat in a cocktail chair. You’re drinking an elaborate cocktail. Perhaps there is a cocktail sausage involved also. Either way, you’re dressed head-to-toe in silk and half-heartedly unwrapping Christmas presents as though you’ve already received every gift under the sun. You are so luxurious you are bored to tears of luxury – until a tiny voice comes along and reminds you of the true meaning of Christmas. This is the kind of life the A Charlie Brown Christmas soundtrack can give you. Take it with both hands.

Elf (2003)

There is a moment in Elf when Buddy pours maple syrup over his spaghetti, washing it all down with a bottle of Coca Cola. “We elves like to stick to the four main food groups,” he explains, “candy, candy canes, candy corns and syrup.” This soundtrack is the audio equivalent – sickly sweet, sugary to an almost cloying degree, as it comes peppered with cute little flutes, squeaky elf voices and sleigh bells. The album Elf: Music from the Motion Picture offers a more durable selection of classics used in the movie, including some of the greatest 1950s Christmas songs – from Louis Prima’s 1957 recording of “Pennies from Heaven”, two versions of “Sleigh Ride”, Eddy Arnold’s “Santa Claus is Coming to Town” and Eartha Kitt’s 1953 “Santa Baby”. But if a sweet orchestral score is more your thing, the Elf OST of course finishes things off with the track “Spaghetti and Syrup”. Just watch out for the sugar-rush headache.

Harry Potter (2001-2011)

There are some Christmas-specific songs hidden in each of the iconic Harry Potter scores, from “Christmas at Hogwarts” to “The Whomping Willow and The Snowball Fight” to “The Kiss” (“Mistletoe!” “Probably full of knargles”), but all the magical tinkling music from these films has a Christmassy vibe. Specifically concentrate on the first three films, when John Williams was still on board and things were still mostly wonderful and mystical for Harry, Ron and Hermione. Perfect listening for that moment just before the snow starts to fall, and you can pretend you’re as magical as the Hogwarts enchanted ceiling (or Ron, that one time).

Carol (2015)

Perhaps you’re just a little too sophisticated for the commercial terror of Christmas, but, like Cate Blanchett, you still want to feel gorgeously seasonal when buying that perfect wooden train set. Then the subtly festive leanings of the Carol soundtrack is for you. Let your eyes meet a stranger’s across the department store floor, or stare longingly out of the window as your lover buys the perfect Christmas tree from the side of the road. Just do it while listening to this score, which is pleasingly interspersed with songs of longing like “Smoke Rings” and “No Other Love”.

Holiday Inn (1942)

There’s more to this soundtrack than just “White Christmas”, from Bing Crosby singing “Let’s Start The New Year Off Right” to Fred Astaire’s “You’re Easy To Dance With” to the pair’s duet on “I’ll Capture Your Heart”. The score is perfect frosty walk music, too: nostalgic, dreamy, unapologetically merry all at once.

The Tailor of Gloucester (1993)

Okay, I’m being a little self-indulgent here, but bear with me. “The Tailor of Gloucester”, adapted from the Beatrix Potter story, was an episode of the BBC series The World of Peter Rabbit and Friends and aired in 1993. A Christmastime story set in Gloucester, the place I was born, was always going to be right up my street, and our tatty VHS came out at least once a year throughout my childhood. But the music from this is something special: songs “The Tailor of Gloucester”, “Songs From Gloucester” and “Silent Falls the Winter Snow” are melancholy and very strange, and feature the singing voices of drunk rats, smug mice and a very bitter cat. It also showcases what is in my view one of the best Christmas carols, “Sussex Carol.” If you’re the kind of person who likes traditional wreaths and period dramas, and plans to watch Victorian Baking at Christmas when it airs this December 25th, this is the soundtrack for you.

Home Alone (1990-1992)

The greatest, the original, the godfather of all Christmas film soundtracks is, of course, John William’s Home Alone score. This is for everyone who likes or even merely tolerates Christmas, no exceptions. It’s simply not Christmas until you’ve listened to “Somewhere in My Memory” 80,000 times whilst staring enviously into the perfect Christmassy homes of strangers or sung “White Christmas” to the mirror. I’m sorry, I don’t make the rules. Go listen to it now—and don't forget Home Alone 2: Lost in New York, which is as good as the first.

Anna Leszkiewicz is a pop culture writer at the New Statesman.