Blitzed with Dario Argento: Behind the Scenes of Phenomena

This article is the third instalment in a series documenting lesser-known projects and media related to Dario Argento over the years.

Over the years, Dario Argento has been a frequent guest on various television programs, particularly in his native Italy, where he has promoted his myriad of films and adjacent horror projects. In 1984, as he geared up for the production of his 1985 supernatural horror Phenomena, he graced the screens of Rai 2's variety television program, Blitz. Hosted by Carla Urban, this episode featured Argento in a series of engaging interviews, conducted across various locations, providing insights into his creative process and the making of Phenomena. I've always found interviews like these intriguing, so I've taken the opportunity to write down some noteworthy observations from the segment. My hope is that others will share in my interest and find these insights into Dario Argento's creative process equally fascinating.

The segment opens with a humorous nod to Dario Argento's signature style whilst playfully referencing the accusations of misogyny that had been levied against him by critics. In a scene reminiscent of his own horror films, Argento finds himself pursued through the empty tunnels of the Roman underground, the camera adopting the perspective of his stalker. The tension mounts as our protagonist is revealed to be a brunette woman in red high heels, a detail reminiscent of Argento's 1982 masterpiece, Tenebrae. 

As Argento breaks into a frantic run to evade his pursuer, he boards a bustling train, only to find himself cornered. The interview commences and Argento emerges from the station, arriving at the iconic Cinecittà studios. This is such a fun scene for Argentophiles and it’s always great to see the Roman underground with its distinctive orange signs—an aesthetic that had been effectively utilised in countless films including Carlo Vanzina's Mystere the previous year.

In the company of his first assistant director, Michele Soavi, Argento reviews audition tapes for their upcoming film, Phenomena. Reflecting on the audition process, Argento shares a personal insight into his upbringing, recalling his mother, the photographer Elda Luxardo. He reminisces about observing her artistic process and the individuals she photographed, which instilled in him a appreciation for facial symmetry and its significance in visual storytelling.

In a segment set at the zoo, Dario Argento delves into his fascination with insects, a theme that proves pivotal in his film Phenomena. Expressing his dismay, Argento notes society's skewed perception of insects, often unfairly labelling them as villains due to their tendency to bite or sting. He emphasises that insects' aggression stems primarily from self-defence rather than malice.

Argento's desire to challenge these misconceptions finds expression in Phenomena, where protagonist Jennifer Corvino develops a unique bond with insects, despite other’s clear aversion towards them. This unconventional portrayal of the insect world culminates in the film's ending where the insects ultimately become Jennifer's saviours.

Argento discusses the murder weapon featured in the film's initial set-piece, which prominently stars his daughter, Fiore Argento. With a hands-on approach, he unveils a prototype of the weapon—a pair of oversized fabric scissors with retractable blades, ingeniously designed to simulate the illusion of piercing flesh. Argento demonstrates the macabre effect on himself and the host, Carla Urban, highlighting his penchant for incorporating intricate and visually striking effects into his films.

In this segment, we see Michele Soavi wearing a chimpanzee mask, giving us a fun peek into the creative process happening behind the scenes. The monkey mask suggests that Soavi might be experimenting with effects or brainstorming ideas for the character of Inga, the chimpanzee, in Phenomena. Such behind-the-scenes moments are always nice to see, showing the imaginative process of filmmaking.

In the office space of Argento, the director films a trio of young female musicians. Transitioning from the creative process, Argento briefly discusses the evolving landscape of technology within cinema. He reflects on the profound impact of New American Cinema and its ripple effect on filmmaking approaches worldwide. Argento highlights the transformative nature of technological advancements, and the way they have enabled filmmakers to achieve visual feats once deemed impossible. He contrasts this with the limitations imposed by inferior technology in the past, citing certain films from the fifties and sixties, such as one possibly named Turbo, as examples of visual shortcomings. However, I'm unable to locate a film fitting that name. If there's any additional detail you can provide or if you'd like clarification, let me know. 

In the presence of Daria Nicolodi and a playful kitten, Argento reflects on the multifaceted nature of love, contrasting its ancient roots with its portrayal as mere entertainment in modern times. He muses on how contemporary society is inundated with distractions and other forms of entertainment, diluting the intensity once associated with love. Argento critiques the prevalent sentimentalism perpetuated by traditional entertainment models, suggesting a desensitisation to the concept of love in fictional narratives. 

Observing their conversation, one can't help but notice the nuances of their body language, particularly against the backdrop of the deteriorating relationship between Argento and Nicolodi. It's especially poignant when Nicolodi says she is unable to convince Argento to spend more time with her amidst his contemplations on love. This interaction offers a glimpse into the complexities of their dynamic during this period and the evolving perceptions of love within their personal lives.

The final segment unfolds within a forest setting, where Argento and his team record ambient sounds, focusing on the subtle nuances of disturbed flora. In Phenomena, sound design is of great importance, conveying the chilling atmosphere of the Swiss countryside. Witnessing Argento's quest for authentic sounds reflects his dedication to creating an immersive soundscape that mirrors the film's cold and mysterious nature.

The segment culminates with Argento's palpable apprehension, as he describes the fear he experiences before embarking on the daunting task of filming. His anxious gaze towards the horizon hinting towards the challenges ahead. The scene fades out, leaving viewers with the image of a caged orangutang in the confines of a zoo, hinting at the importance a primate will play in the film. 

This article is a culmination of a trio of pieces I've written this week on some more obscure Argento media and projects. If you'd like to see more, leave a comment or send me an email/DM on Instagram/X. Thanks for reading! 

Images:

Sources: 

https://www.youtube.com/watch?v=5XXTFvvvm0M

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