Mjeteconer Just perfect...

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Kaydan Christian A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Taha Avalos The best films of this genre always show a path and provide a takeaway for being a better person.

Leofwine_draca This is the one hour documentary made by Film Four in 2000 which was originally screened as part of an Argento season. On the plus side, there's plentiful interview footage with Argento, who goes into why he makes the films that he does (in his own Italian too, so none of his broken English), and other assorted and varied interviews with the likes of Michael Brandon, Luigi Cozzi, Alan Jones, Daria Nicolodi (briefly) and even Asia Argento. These interviews are fresh and entertaining, and even Tom Savini gets to talk at length about his various effects shots.However, I think they should have studied and perhaps reviewed Argento's movies a little more closely. Most of them are mentioned but not examined and some aren't even featured - THE STENDHAL SYNDROME for one. The documentary promised exclusive footage from the set of SLEEPLESS, which we get, but again it isn't even mentioned in Mark Kermode's voice-over. Nonetheless this is a watchable little item for fans of the genre, and professionally done.

Michael_Elliott Dario Argento: An Eye for Horror (2000) *** (out of 4) Good documentary not only interviews Argento himself but we also get a wide range of people who show up to give their thoughts on the Italian master. These people include John Carpenter, George Romero, Tom Savini, Claudio Simonetti, Daria Nicolodi, Piper Laurie, William Lustig, Jessica Harper, Keith Emerson, Alice Cooper, Claudio Argento, Fiore Argento and Asia Argento. The documentary does a pretty good job at looking at Argento's career from his writing credits on ONCE UPON A TIME IN THE WEST all the way up to SLEEPLESS, which we see when it's in production. Along the way we get to hear some pretty nice stories about the making of DEEP RED, SUSPIRIA, TENEBRE, OPERA, TRAUMA and TWO EVIL EYES. I was a little surprised to see how much is talked about in regards to some of his later work and this includes quite a bit on TWO EVIL EYES where we get a pretty funny story from Savini about Harvey Keitel's lawyers getting in touch with them about something. Another good story comes from Romero who talks about their meetings for DAWN OF THE DEAD. One of the most fascinating parts could make for its own documentary and it's when Asia talks about how uncomfortable she was with the nudity that her father made her do in TRAUMA. She then mentions how Dario had killed her mother in several films, killed her sister in a movie and how she was raped in a couple movies. As she said, this here is quite bizarre. DARIO ARGENTO: AN EYE FOR HORROR certainly isn't detailed enough to be the end all on the director but it's a pretty good tribute with enough famous faces to make it worth viewing.

gavin6942 Now ten years old, this documentary spans Argento's career, from his film critic days right up to some of his latest work. Unlike Soavi's documentary, which focused on "Phenomena" and a few Argento interviews, this is far more of a complete biography. (Both films are good, but the focus is different.) Here we learn that Argento hates actors, and prefers the look of a scene over performances. He also does not like directing because he prefers to be alone. Being surrounded by people asking him questions annoys him.The documentary asks, but never fully answers, what might be a psychological question: why he killed his wife Daria several times, but never killed his daughter Asia -- only raped her and has her naked in multiple films. The answer is potentially disturbing and best not to explore.Overall, this documentary is very in-depth, extensive, informative and has such varied interviews, notably from people early in his career, or modern masters of horror like John Carpenter or George A. Romero.

MARIO GAUCI Decent but hardly a comprehensive documentary on the Italian horror maestro – despite the involvement of the man himself, his closest collaborators (a number of them family members) and admirers (including contemporaneous genre exponents).We're shown Argento at work on his then-current production, SLEEPLESS (2001): being a self-confessed loner, he demonstrates a Hitchcock-like aversion to the actual shooting process; at the same time, though, he shrugs off the epithet of "Italian equivalent to the Master Of Suspense" which is often attached to him – claiming that their individual styles couldn't be more different! However, when it comes to discussing his filmography, it rather skimps on important titles: even his influential debut THE BIRD WITH THE CRYSTAL PLUMAGE (1970) merits no more than a nod, whereas the popular TENEBRE (1982; with its famously elaborate Louma crane shot) is by-passed entirely – as is, unsurprisingly, Argento's disastrous version of PHANTOM OF THE OPERA (1998)! That said, both DEEP RED (1975) and SUSPIRIA (1977) – still his most accomplished films – are justly given their due; incidentally, the latter is mentioned as being the first part of an as-yet-uncompleted trilogy: actually, the director has just been showing the now-completed film on the festival circuit (hopefully, "The Three Mothers" will be a decisive step up from the mostly disappointing work he has churned out of late).As I said, interviewees include the likes of Daria Nicolodi (ex-wife, frequent actress, occasional co-writer), Asia Argento (daughter, frequent star), Fiore Argento (daughter from his first marriage, occasional bit-part actress) and Claudio Simonetti (member of the Goblin band, who were responsible for several of the most memorable soundtracks to his films and which represented an integral part in their eventual success). Also on hand are director George A. Romero (with whom Argento collaborated on DAWN OF THE DEAD [1978] and the two-part Poe compendium TWO EVIL EYES [1990], which I just watched), Romero' s regular effects creator and occasional actor Tom Savini (who, alone, worked on Argento's TRAUMA [1993] as well), Piper Laurie (star of TRAUMA) and director John Carpenter (himself perhaps the closest to being Argento's American counterpart, and who admits to being a fan of the Italian's work). One surprising but most welcome speaker is Michael Brandon, star of what is perhaps the director's most requested vintage title – FOUR FLIES ON GREY VELVET (1971; if only because, due to tangled rights issues, it's yet to receive an official DVD release), which I was lucky enough to watch (albeit via a poor-quality bootleg) while in Hollywood in early '06 and actually consider to be merely average!