Cameraman


is a rear-screen trick shot, with Beatty (as Antonio) and Lees inhab- iting the foreground, acting to a background of Beatty (as Leo) and a henchman, photographed with a deep-focus lens that tricks the eye into perceiving everything on the same level. While playing the scene opposite himself, Beatty (as Antonio) waved the gun in front of his own face, the movement appearing to be engi- neered by Beatty from the background plate, thus introducing another layer of deception to the shot. Quel bandito sono io! is visually inventive throughout, with Bava tak- ing full advantage of recent innova- tions in deep-focus photography to stage the film’s action in depth, which is particularly useful in cir- cumstances where the protagonist and antagonist are played by the same actor and depicted as leading parallel lives. By dividing the action in depth, as well as width, Bava pro- vides Soldati with twice as much space in which to surprise the viewer’s expectations.


The story’s twin motif is further


reinforced by the use of mirrored set decorations. In one shot, a man is shown walking briskly toward the camera from the right, but before we’ve had time to consider anything but his movement, he arrives on the left, revealing our initial impression as his mirror image. Later, when Dorothy hides Angelo from the po- lice, she places him inside an open closet, whose door is closed to re- veal another mirrored surface—in which we see a reflection of Leo run- ning for a hiding place of his own. The mirror motif is picked up again during Angelo’s final escape from the police, as some of the action is pho- tographed as reflected by the shiny curvature of a parked car’s hubcaps. Elsewhere, Bava can be seen working his usual magic—using light and shadow with eloquence, making women beautiful—but he’s beginning to push beyond his in- fluences and on the road to becom- ing himself. Men are lit and shaded sharply, women softly—with tex- ture and diffusion. Honest women are lit to highlight their entire face, while the duplicitous Rosanna has only her eyes illuminated—literally masking her in light—when she


102


acts dishonestly. Similarly, the honest characters are lit directly, while Leo and his cronies are usu- ally lit from behind, or at some in- direct angle. When confidences are shared, the characters are also lit from behind, at a low angle, sug- gesting that the light—like their whispered words—are coming from the corner of their mouths. There is also a thematic consistency in the use of scrim patterns, the shadow motifs seen on various walls: they run neatly parallel in Antonio’s normal household, zig- zagged in Leo’s crooked hideaway, and finally cross-hatched like prison bars at the police station. Discussed out of context, these lighting practices may sound overly cerebral or self-conscious, but they do not draw overt attention to themselves and, most importantly, never upstage or overwhelm the film’s comic agenda. It helps that Quel bandito sono io! is more of a smart comedy than an outright farce; it was intended to provoke laughter with its cleverness and el- egant surprises of expectation. This approach is signalled imme- diately with the musical footage that provides the backdrop to the main titles, as we are directly (even ogreishly) serenaded by a man singing and accompanying himself on a mandolin. As the credits end, we learn that this entertainment was provided by one of Leo’s hench- men, while his other partners split the money from a bank heist. The movie’s buoyancy—aided in part by Nino Rota’s sprightly score— makes it very apparent that Bava and Mario Soldati worked happily to- gether. Bava later described Soldati as “one of the few intelligent persons I’ve ever known in the cinema, per- haps even too intelligent for this business,” and remembered their collaboration as one of ease and humor. In fact, the working atmo- sphere Soldati created on the set was so creative and supportive that he and Bava entered into a game simi- lar to that of Antonio and Leo, swapping not lives, but their on- set responsibilities. On occasion, Bava allowed Soldati to light the sets and frame shots, while Bava was given his first taste of feature


film direction. “Soldati turned out to be a marvelous cameraman,” Bava attested. 7 Worthy of special mention is the


presence of the stunning Austrian actress Tamara Lees, whom Bava photographed in such a way as to declare her the first of his great femmes fatale. Born Diana Helen Tamara Mapplebek in Vienna on De- cember 14, 1926, Lees made her first screen appearances in British com- edies like John Irwin’s A Piece of Cake (1946) and Anthony Askwith’s While the Sun Shines (1946). By 1949, Lees was still unable to se- cure better than minor roles in Brit- ish films—including Brian Desmond Hurst’s Trottie True (in which her Quel bandito sono io! co-star Jean Kent was billed far above her) and Terence Fisher’s Marry Me—but in Italy, where beauty was prized far above voice or dramatic talent, she was placed immediately under con- tract to Lux and became a star. Quel bandito sono io! was her first Italian co-production and her first signifi- cant role, thanks in large part to Bava’s careful, adulatory attention to her mysterious, glacial beauty. Lees would remain in Italy for the remain- der of her screen career, working fre- quently with Bava in the early 1950s. She retired from onscreen appear- ances in 1961, thereafter working in the dubbing industry.


Bava’s work during this period was suave and steady, showing a notice- able advancement in the planning and layering of images; it showed a cam- eraman in total command of his métier. The Italian film industry responded to what they saw. “At that time,” Bava reminisced, “if I stopped working for even an hour, I would receive forty calls offering me something else to do!”8 As long as these jobs didn’t inter-





fere with his obligations to Lux, Bava took them on. A number of these jobs have certainly gone unrecorded by history, but in addition to the two features he shot in 1949, it is known that he also photographed a half- dozen known documentary shorts— one each for Riccardo Melani (Le porte d’oro, “The Golden Doors”) and N. Pasqualini (Arte nella porcellana, “Art in Porcelain”), and three for


Telloli: Fantasie di statuine (“Fantasy in Sculpture”), Porcellana nell’arte (“Porcelain in the Arts”), and Il vangelo del Beato Angelica (“The Gospel of the Blessed Angels”). In the coming year, Bava would further supplement his career with six more, including works for Luciano Emmer (Disastri della guerra, “Disasters of War,” La festa di Sant’Isidro, “The Feast of St. Isidore”), Marino Girolami (I nuraghi), Augusto Petrone (Sulle orme di Esculapio, “On the Trail of Esculapeus”), and Luigi Comencini (L’ospedale del delitto, “Hospital of Crimes”).


Bava’s short films, particularly


those made for other directors, may appear to be impersonal works for hire, but it would be a mistake to underestimate their place in his filmography. In more ways than one, his short films can be seen as an on- going process of self-discovery, acts of cinematic hommage through which Bava arrived at a better understand- ing of the filmmaker he hoped to be- come. A cursory overview of their sub- ject matter reveals an interest in the lives of the Saints, art and civilization, his homeland, Greek and Roman his- tory and, above all, a reverence for artisanship. He was unquestionably his father’s son, in search of an inter- est or perspective that would distin- guish him not only as a craftsman but as an individual. Over time, a steadily emerging detail of interest in the shorts is the relationship between art and the imagination; a couple of the later shorts (such as Comencini’s L’ospedale del delitto) also brought Bava into haunting contact with the darker possibilities of the imagination, bringing him that much closer to com- ing face-to-face with the self-expres- sion that eluded him. The shorts also offered Bava opportunities to experi- ment with special effects, trick shots, and other forms of fanciful illusions, not to mention the art of montage. On the whole, the shorts are conspicu- ously more serious in tone than the comedies and melodramas that were Bava’s principal bread and butter during this period, and also more per- sonal. In the 1950s, the self-knowl- edge he had acquired from working in short form cinema began to express itself through his feature work, add- ing to his distinction as a cameraman.


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