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.
|Publisher:||University of Minnesota Press|
|Product dimensions:||5.50(w) x 8.40(h) x 0.90(d)|
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.
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Name: Skailynn (Sky-Lynn) but goes by Skai. <p>Age: Mid 20's. <p>Gender: Female. Of course. <p>Appearance: Long, curly black hair with heavily lashed pale green eyes. Olive toned skin, with several scars on her arms and chest. She is short, reaching the height of 5"4 and weighs 120. <p>Persona: That depends on you. <p>Weapons: Twin axes that she keeps strapped to her back in a special sheath she made for them and a small handgun she keeps strapped to her thigh. <p>Background: Vixen was Skai's mother and survivalist of the first Zombie outbreak. She became pregnant with Skai when she came across a group of Survivalist on her way to a safe haven. Vixen died giving birth to Skai but the group took her in and protected her with their life's. They taught her hunting tactics, fighting tactics, how to build fire's, be alert at all times and most important never let your guard down around people you don't know. The group's elders were slowly dieing and after the death of Sam, Skai's mentor and father, Skai departed the group and stumbled upon this one.
Age: 30/ height: 5'8"/ weight: 180 pounds/ physiche: athletic./ appearance: short black hair that is slightly graying and brown eyes./ clothes: a green plaid flannel shirt and a pair of loose jeans with combat boots and a backpack/ weapons: 9mm pistol, .44 revolver, hunting rifle with scope, bow and arrow, hunting revolver, sawn off pump action shot gun, 12 gauge pump action shotgun, shivs, homemade bombs, molotovs and homemade smoke bombs, environment. More to come/ anything else, ask.
Survivor of the first four zombie rps, soldier, secret agency leader and cure maker prince zachary is of royal blood and lost his sister to the second apocalyps. Wears: army uniform and dog tags. Has a bag of many wepons 19 yrs old. Justin was saved from a zombie in the second apocalyps by zach. Wears white shirt, jeans and a green rolsvill soccor jacket. skilled techy. Flew his first helecopter at age of 11 yrs old. Now 12 yrs old
Just ask anyone at Fangoria, the best-known magazine specializing in horror films. You'll be assured that Maitland McDonagh is a leading national authority on the genre. But wait: Maitland. Isn't that a woman's name? Yes indeed. If some people wonder how a red-blooded American male can go for chick flicks like "Pretty Woman," "The Joy Luck Club" and "The Remains of the day," those same movie fans would pigeonhole slasher pics as those made strictly for the testosterone set. In her updated, newly-expanded tome on the films of Dario Argento, "Broken Mirrors/Broken Minds: The Dark Dreams of Dario Argento," McDonagh does not bother offering a clear impression of just why she became a fan of testosterone fare, but does say that "On the strength of 'Deep Red' I started researching and found that while there was plenty of writing about the man and his films.there was nothing academic..Argento's films were a graduate student's dream.seething with subtext and vibrating with visual virtuosity." In other words, here was a director whose works she does not universally like (she agrees with me that "La terza madre" is nothing to write home about, nor is "The Bird With the Crystal Plumage"), but the film department at Columbia University requires a thesis of graduate students, and why not see if the department would accept something considered tawdry and commercial--like horror? The book was developed out of her Master's thesis, with McDonagh's probably going through what I did with my own thesis when I hooked a publisher who showed some interest in my writing a book. "Just rewrite your dissertation and remove everything that's boring," was the advice of the Utah-based editor, which decided not to accept my "book" when it was ground down to a single page. No problem with "Broken Mirrors." Though I have not seen McDonagh's thesis, probably available at Columbia's Butler library, I see that whatever it states has successfully been re-formed into a readable, often exciting piece of work. The book is intriguing, though not targeted to the youthful fan base of of the lesser Frankenstein/Dracula/Wolfman series but rather to movie-goers who have read more than their BlackBerry messages and the Sports Illustrated swimsuit issue. They can appreciate the way the author combines a scholarly tone with the reading ease of a solid novel. Look at this description of: "penny-dreadful narratives seething with subtext and vibrating with visual virtuosity." Alliteration and deftly condensed verbiage abound in the paperback's 293 pages. If these words connect with you, consider the purchase. As for the way "Broken Mirrors" is organized, the bulk is a film by film analysis of Argento's works, which means that the best way to tackle it is to pick up the DVDs (all of Argento's films are available in that format) and then give yourself a few weeks. Set your player up with "The Bird With the Crystal Plumage," then read the chapter-one which, by the way, compares Argento with Hitchcock. Everything about the movie that has you puzzled will be explained by