La Venere d’Ille La Venere d’Ille also marks the


screen debut of the fourth generation of the Bava family to work in the cin- ema. For a scene requiring a young boy to crawl under a table during the wedding feast and steal Clara’s garter to the uproarious amusement of the room, Mario recruited Lamberto’s son Roy, who is billed under his birth name of Fabrizio Bava.


“It’s the movie of Mario’s that I re- member best,” he says. “I used to go to the set quite often, when they were shooting in Castel Giuliano, near Rome. Lamberto and Mario found a lot of nice, supportive people to work with them. There was a wonderful at- mosphere on the set; in all the years since, I’ve never known such a nice atmosphere on a movie set.”


Cinematography & Special Effects


The film’s special effects are few, but highly inventive. The startling trick- shot of the Venus bouncing a hurled rock back at two abusive boys was created in the editing; the three shots in the montage are a long-shot of the rock being thrown, a medium close- up of the rock bouncing off the statue, and another long-shot of a rock being thrown at the children. Only when one studies the montage frame-by-frame does one notice that the rock is thrown in the last shot from slightly above the Venus.


In the film’s penultimate shot, M. De Peyrehorade watches the Venus staue being carted away on a wagon. At first glance, the shot seems to have been achieved by placing a small camera aboard a wagon; on closer inspection of the frame, it becomes evident that there was no wagon at all. The shot—quite possi- bly the most convincing of all Bava’s matte shots—is composed of an ex- treme low-angle shot of the Venus, its back wreathed in hay, receding from a background view of actor Mario Maranzana. The statue was in fact photographed from below, with hay arranged about its shoulders; the photo was then mounted on a


sheet of glass that was attached to a makeshift dolly and wheeled away from Maranzana, with the sound effect of a wagon dubbed in!


Commentary


What is most remarkable about La Venere d’Ille are the ways in which it brings Bava’s directorial career full circle, back to elements of his debut La maschera del demonio. Both films are based on classic short stories of the fantastic, both are set in the 19th century, and both focus on the exhu- mation of a female character, a link with the distant past, whose allure is manifest in the form of a double. The evil Princess Asa, a disciple of ancient pagan religion, and her virginal de- scendant Princess Katia, are mirrored in La Venere d’Ille by the Greek statue of Venus (described as “dating back before the birth of Christ”) and by Clara De Puygarrig. Clara is not a lit- eral lookalike to the statue, but a sub- jective one. After seeing Clara at a dis- tance, Mathieu’s nascent feelings for her seem to crystallize as he sits to sketch the statue. He finds he cannot draw a proper likeness because his attempts to draw the statue always turn out looking like Clara. “I can’t seem to capture her expres-


3 Luca M. Palmerini and Gaetano Mistretta, Spa-


ghetti Nightmares (Rome, Italy: M&P Edizone, 1996), 215.


sion,” he complains to M. De Peyre- horade (from whom he conceals his attempts). “Look at those lines . . . the way the mouth is fixed . . . the empty gaze of her eyes . . . her inflection . . . her contrasts. It is as if the artist sought to accentuate her wickedness. There is something ferocious in this Venus. If such a woman truly existed, she would take your breath away.” The two men proceed to haggle over an inscription found on the base of the statue, which De Peyrehorade in- terprets as meaning “Take care of those you love,” speculating that it may have been dedicated to a woman who suffered in love. Mathieu, of the opinion that the inscription was en- graved later as a baleful warning, per- haps by a past owner, translates the words to mean “Beware of those you love.” Humorously, De Peyrehorade responds by saying, after a beat, that he thinks he will stand by his own interpretation. In this exchange, Bava seems to be declaring his own final decision in the matter, after twenty


years of contemplating the two faces of Woman as a director, and as a man. The film’s sweet air of gentle resigna- tion may be Bava’s own, deciding to take care, rather than to beware, of the woman in his own life. Women are the chief protagonists


in Bava’s filmography, even when his male characters take the apparent lead (e.g., Operazione paura, Roy Colt & Winchester Jack), and La Venere d’Ille offers his final thoughts on the complexities of womankind, and also their vexing simplicities. In Bava’s mind, this dichotomy may also encom- pass the gulf between art and reality. In one of Mathieu’s first conversations with Clara, Bava dramatizes the very real pain of an artist confronted with a woman whose soul is shallow com- pared to the depths of her beauty:


MATHIEU


Why did you pick Alphonse to be your husband? A man so unlike you. You’re sensible, delicate—not . . .


CLARA


Look at him. Take a good look. I like him. Is it true you’re going to draw my portrait?


MATHIEU Who told you that? CLARA Alphonse. MATHIEU


No. I don’t believe I shall. There’s something strange about you . . . something I don’t understand. No, I don’t think I could draw you.


CLARA


But why? I’m not such a difficult subject. What’s wrong with me?


MATHIEU


I don’t know . . . I can’t get a fixed image of you. There’s something about your eyes. You’re like two people.


CLARA


You’re complicated. That’s why I prefer Alphonse.


The reference to Clara’s eyes is com- plemented with a brief, concentrated burst of montage unlike anything else in the Bava canon, as the camera cap- tures isolated details of her face no- ticed fleetingly by the artist: an eye looking up through a spray of long lashes, soft lips parted in surprise and almost mocking amusement. The changeable quality of her eyes, noted


by Mathieu, is also a characteristic of the Greek statue, mentioned earlier by Giuseppe, the workman who es- corts Mathieu to the De Peyrehorade home: “Her eyes stare vacantly . . . sometimes, they gleam like gold; other times, they’re as dark as dirt.” The scene also leaves us pondering Clara’s own name, which suggests a level of clarity or simplicity that may be enviable in some ways, while also carrying certain bovine associations. If the schism that exists between Asa and Katia can be reduced to a diagram of the Madonna/Whore com- plex, that which exists between Ve- nus and Clara is a diagram of Woman as art and reality. The women of flesh and blood in La Venere d’Ille are su- perficial; it is the woman of bronze who has infinite depth. Clara is introduced as a mysterious, Brontëan figure on horseback, lovely and heroic and in- scrutable, seemingly worthy of compari- son to the Venus. Later, however, when Mathieu witnesses how Alphonse ig- nores and abuses Clara by carousing with other women at the wedding party, making no secret of his inten- tion to betray her with them, he dares to confront her with the question of why she has settled for such a man, and she responds by accusing him of being overly complex and stating her preference for simpler types like Alphonse. There is something universal in this


form of rejection, which surely every artist has experienced at one point or another, when an expression of em- pathy, thoughtfulness, or simple can- dor has been thrown back in their face by someone who regards depth as an repugnant quality. As this film shows, personal complexity may well make life more difficult, may even make per- sonal happiness more elusive, but it is only by cultivating a complex view of the world that we can hope to avoid the various traps which life puts be- fore us. Clara, one feels, has chosen to marry Alphonse due to a lack of available options in her small village. When Mathieu arrives, he is obviously better suited to her, and would have been capable of bringing out her bet- ter qualities, but he arrives in her life too late; Clara’s predisposition to of- fense may well arise from the feelings of disappointment in her choice, which Mathieu’s presence makes known to


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