Prologue


Eugenio wasn’t a cruel or sadis- tic man; he was simply enacting a popular Italian wisdom of the time: “If you want someone to remember what you say, slap them when you say it.” Nevertheless, it was a trau- matic episode for Mario, never for- gotten by the child and much im- pressed upon the man and the artist he became. Mario’s relationship with his fa- ther was always difficult, as relation- ships between similar people often are, and the son held onto his deter- mination to someday impress his father with his independence. As the ironies of fate would have it, Mario discovered that his own personal path followed the arc of his father’s own footsteps. Like his father, he ini- tially aspired to become an artist, and like his father, he was ultimately seduced by the motion picture busi- ness, which had become the family business. He initially worked as his father’s apprentice in the optical ef- fects department of the Istituto Nazionale LUCE (1932-39), later becoming one of Italy’s leading cin- ematographers (1939-60), and eventually, a film director (1960- 78). All of these things and more Eugenio had also been, though he stubbornly resisted identification with his work and died virtually unknown. Mario likewise never achieved great celebrity during his lifetime, not because his work went unrecognized but because he was uncomfortable in the limelight. After all, he was nobody. Like his father, Mario considered


any form of self-promotion to be vul- gar. He worked his wonders from the vantage where he was least likely to be observed: behind the camera. He photographed several of Italy’s most popular and important films of the 1950s, helping to cultivate the screen personas of such interna- tional stars as Gina Lollobrigida, Aldo Fabrizi and Steve Reeves. When fortune rewarded his hard work and dependable talent by promoting him to the rank of director, Mario took refuge in the shadows of a genre that most filmmakers of that time did not often deign to include on their résumés, and which was distinctly unpopular in his own country: the horror film.


16


While Bava’s choice of genre cer- tainly contributed to his neglect by the critical mainstream, it was not wholly responsible. Bava himself was the first to belittle his endeavors. According to his son Lamberto (who served as his assistant director from 1965 to 1978), Mario often com- menced the shooting of a new film by calling for everyone’s attention and announcing, “Now we are going to make a movie . . . and when we finish, we’ll all have much to be ashamed of!” Unlike his colleagues, who made proud claims for their movies that the unreeled evidence did not always support, Bava actively shunned the prospect of his own dis- covery. He dismissed his films as “bullshit,” saying that they made him “feel like throwing up”; he would roll his eyes whenever anyone attempted to discuss them seriously. In his twenty-year directorial career, he made only two television appear- ances and granted only a half-dozen print interviews, most of which were self-deprecating to the point of self- sabotage. He responded to interview- ers’ questions with quizzical remarks that carried an undertone of “Haven’t you anything better to do than talk to me?”


By diverting serious attention


from his work, Bava was spared the embarrassment of admitting that he had been secretly expressing himself through it all along. Know- ing nothing about the man he was, and given no clues as to what Bava might express about himself, his life or his beliefs if he were so in- clined, neither the press nor his audience had any clues to the con- trary. Consequently, Bava attained the reputation of a masterful styl- ist whose films were bereft of soul and substance.


But the insiders of the Italian film


industry knew better. Throughout the 1960s and ’70s—the fecund pe- riod in which he directed all of his movies—Mario Bava was regarded by his peers as a Maestro, and he was often approached by other directors in desperate need of his expertise. “[Mario] was endowed with an ex- traordinary technical ability, and took great pleasure in confronting and solving the most difficult tech- nical problems,” his friend and


mentor Riccardo Freda recalled in his autobiography, Divoratori di celluloide. “I remember—when film wasn’t as sensitive as it is today— that he once shot a sunset scene with the characters in close-up, going far beyond what were con- sidered the limitations of the film stock. A master of trick photogra- phy, he could solve any problem, however difficult.”


The word “legendary” may sound excessive for such a retiring and humble personality, but witness Vincente Minnelli’s Two Weeks in Another Town (1962)—a melo- drama documenting a troubled American production being filmed at Cinecittà—which features an he- roically resourceful cameraman named “Mario.” Of course, Mario is a common Italian name, as good as any for this peripheral character, but Minnelli’s film is overflowing with in- side jokes and a sophisticated knowl- edge of the Italian film industry. It was also made well after Bava had saved many an American director’s “Hollywood on the Tiber” excursion— Robert Z. Leonard, Raoul Walsh, Jacques Tourneur, Andre de Toth, and Arthur Lubin, were only a few of the filmmakers who had reason to thank him. Bava never sought credit for such favors. After all, who was he to take credit? To sign his name?


Mario Bava never aspired to become a film director, or so he claimed. As he once said, “I’ve been in the film business for so long . . . I know ev- erything and everybody, so how could I possibly take this absurd cir- cus seriously?” He was essentially pushed into the director’s chair by other directors, notably Riccardo Freda—who abandoned two horror films (I vampiri, 1957 and Caltiki il mostro immortale/Caltiki the Immor- tal Monster, 1959) that Bava hap- pened to be photographing, leaving them in his capable hands to finish. It was after salvaging another aban- doned picture, Jacques Tourneur’s La battaglia di Maratona/The Giant of Marathon (1959), that executive producer Lionello “Nello” Santi re- warded Bava with an offer to direct any film of his own choosing.





A devotée of Russian literature, Bava chose Nikolai Gogol’s ghost story “Viy” as his model and made La maschera del demonio/Black Sun- day (1960), a film that actually has little in common with its credited source. It became a tremendous in- ternational success. Audiences were thrilled and terrified by this, one of the last great black-and-white hor- ror pictures, and overnight—as a result of her dual role as the virtu- ous Princess Katia and her resur- rected vampire ancestor, Princess Asa—Barbara Steele earned interna- tional regard as the first (and possi- bly still reigning) Queen of Horror. As sometimes happens when things go too well, the overreaching success of La maschera del demonio cast a pall over Bava’s subsequent efforts. The film’s admirers were not pleased when its elegant monochro- matic photography, classical story- telling, and Gothic atmosphere were followed by a chain of increasingly brutal, deliriously colorful horror films, including I tre volti della paura/Black Sabbath (1963), La frusta e il corpo/The Whip and the Body (1963), and Sei donne per l’assassino/Blood and Black Lace (1964). These inventive, fiercely mod- ernist


films—now recognized by


many as Bava’s most accomplished work—were perceived at the time as a betrayal of his gift for gothic hor- ror. Furthermore, the frankly adult bent of these films was met with dis- approval from American distribu- tors, who retaliated by deleting foot- age, reshuffling the order of the remaining scenes, and rewriting their dialogue in the dubbing stu- dio. These amendments too did nothing to advance Bava’s career. After a healthy half-decade spent


largely under the beating wing of American International Pictures, Bava drifted into low-budget obscu- rity. His only subsequent major- budget production came in 1968, an adaptation of the popular Italian fumetti (comic book) Diabolik for pro- ducer Dino De Laurentiis; it proved a moderate success and a personal turning point. Bava learned from this production that the higher financial stakes of big-budget filmmaking took all of the fun, spontaneity and in- vention out of his profession. Once


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