Cameraman


of filming; she emotes well, but she is a fairly plain young woman, and even when her face is angelically haloed with Bava’s velvety madonna lighting, one can’t help wondering how much more striking the movie would have been with a more compelling actress in the role. Bava’s lighting lends a spe- cific commentary to Fiore’s perfor- mance throughout: he highlights her eyes when tears are about to flow, en- shrines her face with light when she adores or is adored, mottles her sick- bed with shadows that she rises above by sitting erect as Alphonse’s letter is handed to her, and she dies offscreen, her passing indicated only by the ex- clamation of her grandmother. Always attentive to the eyes of actors, Bava also pays special attention to a wrinkle under Mocky’s left eye, highlighting it selectively at moments when Alphonse feels tenderly toward Graziella. Bava’s mastery of lighting and com-


position were, by now, now fully ma- tured and benefitted from the atmo- spheric settings of art director Veniero Colasanti—who would continue to work with Bava on his next few as- signments. Bava makes this familiar tragedy compelling with an exacting attention to environments and their emotional resonance. The story takes us to religious processions and elabo- rately choreographed parties replete with smoke and fireworks and crane shots, but nothing is quite as dazzling as the simplicity of Andrea’s cottage in Procida, especially the fireplace where Graziella dries Alphonse’s feet when he comes in from the storm. There is a small fire, and some wisps of smoke, but pouring forth from the hearth is so much light that the viewer feels its heat, and the illusion is sold a bit more by someone’s offscreen hand flickering the light cast onto the wall at the right. In this cottage, it’s what we don’t see that makes the deepest impression: the crucifix where Graziella later hides her carved me- mento, for instance, is first introduced as a silhouette cast on the wall out- side her door. In the scene of the party in Paris, however, Bava takes the ex- treme opposite approach and so over- whelms every set-up with baroque content—antique furniture, rococo wall moldings, chandeliers, opulent clothing, women’s hats with extraordi- nary plumage—that the eye overloads


138


and retains nothing but a (desired) hollow impression. The distance be- tween these two worlds is further emphasized by Bava’s continued use of deep focus photography, which al- lows some of the film’s conversations (notably one between Graziella and her estranged boyfriend Ceccho) to be conducted literally in depth.


Ulisse


First released: October 6, 1954 Technicolor, 1.66:1, 108 minutes


Production: Lux Film. Distributor: Lux Film. Austria: 2/55. Finland: 9/23/55. Germany: Fahrten des Odysseus, “The Adventures of Ulysses,” 2/8/55, 113m. UK: Ulysses, Archway Film Distribution Ltd., 6/55, 108m 32s, Certificate “U,” passed with cuts. US: Ulysses, Paramount Pictures, 10/55, 104m.


When production on Cose di pazzi ended, G.W. Pabst turned his atten- tions once again to filming The Odys- sey, now in partnership with Dino De Laurentiis as producer. Surprisingly, this bedrock of all adventure stories had never been filmed in its entirety; all previous adaptations had been one- or two-reelers, beginning with Georges Méliès’ Ile de Calypso: Ulysse e le Géant Polyphème (1905), Pathé Cinema’s La retour de Ulysse (1908, co-directed by Charles De Bargy and André Calmettes, running only 925 feet) and, the longest of the few, the Milan-made Odissea (1911), directed by Giuseppe de Liguoro (1869–1944). Because the epic that came to be known as Ulisse was ultimately fi- nanced by Lux Film, co-produced by Carlo Ponti and Dino De Laurentiis, designed by Flavio Mogherini on the sound stages at the new Ponti–De Laurentiis Studio, and entered pre- production with Pabst at the helm— and because so much special effects photography was required by the ma- terial—it is inconceivable that Mario Bava was not also invited to be part of this “old home week” production, at least in its early phases. However, as the project matured in pre-production, Lux joined forces with Paramount in America, Kirk Douglas was cast as Ulysses, and Pabst—whose last two films had been boxoffice failures— was replaced as director by Mario


Camerini. Camerini’s signing would not in itself be enough to knock Bava off the roster, because Camerini’s re- cent film Gli eroi della domenica had also been shot by Bava. But Para- mount (and probably Kirk Douglas as well) would have insisted on protect- ing their investment by using an American director of photography, and this is the likeliest reason why cam- eraman Harold “Hal” Rosson (1895– 1988) was brought over to Rome. Pro- duction began on May 18, 1953, in Porto Ercole.


Though it is grandly entertaining and contains some of the most poi- gnant moments found in any mytho- logical film, Ulisse is awkwardly con- structed; it begins in the middle of the story, as the amnesiac Ulysses struggles to recall his memory on the eve of his wedding to Nausicaa (Rosanna Podestà, a carry-over from Pabst’s La voce del silenzio), and thus looks back on a few prior adventures before he recovers himself and sails home to his wife Penelope (Silvana Mangano, the wife of Dino De Laurentiis) in Ithaca, where he must overcome the arrogant suitors who would claim his bride and throne. This odd, inside-out construction may be due to too many cooks in the kitchen, or perhaps it is evidence of an editor (in this case, Leo Catozzo) struggling to combine the conflicting visions of two different directors into a coherent story. (In this respect, Ulisse is very much like 1940’s The Thief of Bagdad, which was signed by three directors, including Michael Powell.) In his au- tobiography The Ragman’s Son, Kirk Douglas admits that he and “the di- rector” (whose name he evidently didn’t recall) were “on the outs” dur- ing the production, and didn’t come to a truce until the wrap party, where the actor kneeled and serenaded Camerini. Their adversarial relation- ship may also have contributed to a failure to get everything needed into the can.


Looking at Ulisse, made in the last year that Technicolor’s three-strip camera was used, it is obvious to the trained eye that Rosson was the prin- cipal cameraman. The brother of noted director Robert Rosson, he had su- pervised some extremely inventive color photography in Hollywood, in- cluding several cornerstones of the


Technicolor process, such as The Wiz- ard of Oz (1939), Duel in the Sun (1946), and the Esther Williams swim pageant Dangerous When Wet (1953), and Ulisse shares the visual charac- ter of those films: a bright, colorful look shot through with undercurrents of darkness. Despite Rosson’s out- standing credentials, It is question- able that anyone but Mario Bava was responsible for lighting the scenes involving Circe (also played by Mangano, whose dual role was one of several ideas retained from Pabst’s 1950 screenplay). These scenes are so remarkably different in approach and texture to everything else in the pic- ture, including other fantastic scenes such as the encounter with the cy- clops Polyphemus—and so true to Bava’s own aesthetics, Rosson’s in- volvement in them becomes dubious. Throughout her scenes as Circe, Mangano is bathed in an uncanny aqua-green light that imbues her with a supernatural presence, and the weeping walls of her cave are simi- larly illuminated with painterly daubs of irrational, saturated gel lighting— giving it the feel of the proverbial cake left out in the rain. These sequences, complimented by Flavio Mogherini’s magnificent set design, are identical to the photographic effects Bava would later achieve in Ercole e la regina di Lidia/Hercules Unchained, and the bizarre attendance of Circe’s hand- maidens in their anachronistic Belle Epoque gowns and black scarves like- wise distinctly foreshadows the Hesperides in Bava’s Ercole al centro della terra/Hercules in the Haunted World. The sequence continues with Circe conjuring various spirits from the Beyond to persuade Ulysses to stay with her, full of typical Bavian smoke to “animate” an otherwise inanimate sequence, and ends with a clincher: as Circe looks into the camera and says, “Go then, if that is your choice— the sea is waiting!” Mangano’s close- up is curdled with a “water glass,” a camera prop from Mario Bava’s per- sonal arsenal. This pane of partially clear, partially rippled glass was a present given to Mario by his father Eugenio, who had manufactured it for his own use in the days of the silent cinema. In his later films as a direc- tor, Bava was fond of using the “water glass” to illustrate hallucinations and


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