Last Projects


“He behaved with a friendly sim- plicity, trying amuse us all—workmen, technicians, actors—like children with toys: and everything moved along so quickly, we were sometimes afraid that his efforts wouldn’t succeed. We all felt like children—like amazed chil- dren, but at the same time, full of lik- ing and admiration for this conscien- tious, attentive, older child in whose creation we were all involved. “If Bava is still far from achieving a position of respect, it is doubtful that his genius will be forgotten because, like no other in the play of light and shadow, here everything was the do- ing of one mysterious Maestro. New devices, special effects achieving any number of objectives, all kinds of crazy tricks continually sprung from Bava, who was motivated by an indefatigable search for perfection and often worked with very little means or assistance. An inborn acumen, a deep familiarity with the laws of optics, and a tremen- dous intensity of concentration re- sulted in original and unique achieve- ments. Some of the things I’m reminded of are the cardboard cut- outs that, in his golden hands, be- came the dreadful shadow figures of Schock, or his gigantic glass paintings of New York for Dario Argento’s In- ferno, or the spectre of Death from Operazione paura, which looked like a little girl with blonde hair.” One month after Bava’s death, the French leftist newspaper Libération published an interview which Bava had granted back in the spring of 1977. Perhaps because he understood himself to be addressing a different audience in this interview, Bava spoke about his work in an unusually so- ber, unembarrassed, even intellectual fashion.


“The whips, the masks, and the


knives you see in my films allow me to have some fun with the idea of death, the amusement of conveying the smell and taste of it,” he said. “The Beyond— which I don’t see as any sort of conso- lation, which is a complete unknown, which allows us to continue to live— is such an enigma that we would rather not ponder its possible conse- quences . . . The monsters in my films


don’t exist; they are the twisted visions of people on the brink of mental ill- ness and sexual aberration, who are striving for sanity . . . Barbara Steele had the perfect look to be a necro- philic star, but not to be a damsel in distress. The cinema’s great murder- ers have never been able to escape them- selves. You remember Lon Chaney Jr. and his tragic attachment to his fa- ther; Bela Lugosi, who slept in a cof- fin; and Boris Karloff, whose health I probably ruined when we were mak- ing I tre volti della paura together, not being a very good nursemaid . . . Gen- erally, my films don’t reflect an out- growth of the tradition. They stand independently of a technocratic soci- ety founded on progress and science; they appeal to the devotées of the In- explicable, who find delirium stimu- lating and therapeutic. Look at the American counterculture, hooked on drugs. Today, they say the counter- culture no longer exists, but this is only because it has become so fash- ionable and, with astonishing speed, has become the culture itself. On the other hand, my films are not scien- tific and reflect no particular belief in science. They are more closely allied to romanticism and preoccupied with the mysteries of nature (much like the ecologists), with visions and religious epiphanies, with sects . . . The girl’s frigidity in La ragazza che sapeva troppo, the incest in La maschera del demonio, and the masochism in La frusta e il corpo are, to me, very remi- niscent of Greek mythology. I’m very Greek for an Italian—heretic, rather than Catholic. It’s my dream to some- day attain the esoteric knowledge of Basilides, Valentinus, Carpocrates, or that marvelous vagabond Simon Magus, whose constant companion was a woman from a brothel in Tyre, in whom he recognized the reincarna- tion of Sophia—the Divine Wisdom predating God.” 7 Basilides, Valentinius, Carpocrates,


7 Levin Safao, Libération, May 5, 1980.


and Simon Magus were all figureheads of Gnosticism in the Alexandria of the second century, A.D. Bava’s familiar- ity with these names shows that his reading had a reach far exceeding Rus- sian and pulp fiction, and also proves that the mysticism of his films was not just decorative, but rooted in deep and serious study of alternative faiths. The last part of this quote is also intriguing


because it shows that Bava identified with “that marvelous vagabond” Simon Magus, who was in fact the basis for the character of Simon Wagstaff in the Kilgore Trout novel Venus on the Half-Shell, which Bava had intended to film as Il vagabondo della spazio.


Naturally, the impact of Mario’s death was most devastating to his son, Lam- berto. “You have to realize, he was not only my father, but also my best friend,” he explains. “After his death, I did nothing for a year but try to deal with my emotions. The death of one’s father is a painful ordeal for anyone; but to lose a talented and considerate father is a greater ordeal still.” Though critically well-received and somewhat profitable, Macabro did not result automatically in a directorial career for Lamberto Bava. The griev- ing son did as his father had done after his own directorial debut, by return- ing to the safe haven of work that was most familiar to him—working as Dario Argento’s assistant director on Tenebrae (1982), in which he also made a short onscreen cameo as an elevator repairman. Lamberto re- turned to directing in 1983 with La casa con la scala nel buio/A Blade in the Dark, a sometimes effective giallo that starred Andrea Occhipinti as a film composer scoring a horror pic- ture at a friend’s apartment house, which happens to be stalked by a transvestite serial killer (played by Lamberto’s assistant, Michele Soavi). Next, Lamberto travelled to Miami, Florida to direct the first of two films starring model Michael Sopkiw, Oceano rosso/Devilfish (1984), about attacks on swimmers by a prehistoric strain of carnivorous fish. The second, an action film titled Blastfighter (1984), was filmed in Atlanta, Georgia. Both jobs were taken for the money, and Lamberto had no illusions about their quality. I spoke to him by telephone when he was on location in Atlanta, and when I asked if these films were going to be good, he laughed self-dep- recatingly and said, “Noooooo.” For both films, he adopted the sentimental pseudonym, “John Old Jr.” Lamberto’s career took a startling change in fortune with his next pic- ture, Demoni/Demons, based on a





script by Dardano Sacchetti that was a sort of earthbound rewrite of the unfilmed script Anomalia. Produced by Dario Argento and shot partially in (then West) Berlin, the film—about a virulent virus, communicated by a horror film at a midnight screening, that turns its audience into vicious demons—surprised everyone by be- coming the top-grossing Italian fea- ture of 1985. The film’s success raised Lamberto’s star as a filmmaker to such an extent that his next movie, Morirai a mezzanotte/You’ll Die at Midnight (1986, another of his “Noooooo” pic- tures), was released with the curious legend, “Lamberto Bava Presents . . . a film by John Old Jr.” In 1986—the cen- tenary of Eugenio Bava’s birth— Lamberto directed a sequel to his great success, Demoni 2: L’incubo ritorna/ Demons 2: The Nightmare Continues, which marked the addition to his crew of his son Fabrizio as second assistant director. As it became increasingly difficult for Italian directors to fund theatri- cal


features, Lamberto moved into television, where he shot some dra- matic segments (called Turno di notte) for Dario Argento’s short-lived television show Giallo, followed by a number of mostly weak-tea, but still elegantly designed horror films in 1987. One of these pictures, La casa dell’ogro/The Ogre, received limited theatrical release under the title Demoni 3. (Michele Soavi’s La chiesa was undertaken as Demoni 3 before deciding to dissociate itself from the franchise. Finally, Umberto Lenzi di- rected the official Demoni 3 in 1991.) In 1987, Lamberto directed a quar- tet of TV-movies for the Italian show- case Brivido giallo: Una notte al cimetero/Graveyard Disturbance, Per sempre/The Changeling 2: The Return, La casa del ogro/House of the Ogre, and A cena col vampiro/ Dinner With a Vampire. Each of these films was robustly designed by Massimo Antonello Geleng (a former art director for Fellini, subsequently allied to Michele Soavi and Dario Argento), but only Per sempre stood out, demonstrating greater directo- rial confidence and subtlety than Lamberto had shown before. The fol- lowing year, Lamberto joined forces with Andrea Piazzesi to form ANFRI S.r.l., a production company under


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