Prologue


fear.”) And what better forum for the creative purgings of a man who didn’t like to be seen, than a genre that causes its audience to avert their eyes? Horror was also, very importantly, a genre in which the initial production costs were so low that Bava could ex- pect and receive complete artistic con- trol—a latitude almost impossible for a director to attain while working in any other film genre.


In some ways, Bava’s work shows him to be a throwback to zoetropic pioneers like Etienne-Gaspard Rob- ert (1763-1837), who, in the late 18th century, adopted the name “Robertson”—thus initiating a long history of European horror special- ists hiding behind Anglo pseud- onyms. Robertson delighted in pro- jecting animated images of demons and skeletons on the walls and cob- webs of actual Parisian crypts. Like Robertson, Mario Bava was neither a traditional nor conventional story- teller, but rather a mediumistic con- ductor, an orchestrator of macabre atmospheres. He was a fundamen- tally inarticulate artist who spoke his heart by transposing text into im- age, circumstance into design, and emotion into color. It was his par- ticular innovation to detail his ob- sessions not only with interplays of light and shadow, as the German Ex- pressionists had done, but with shocking exclamations of hue. It was his special genius to jolt audiences with visual shocks of great chromatic and compositional beauty, con- founding their impulse to look away or hide their eyes. He made Evil ap- pear glamorous and seductive; he juxtaposed scenes of animal violence with allusions to mankind’s highest spiritual conceits; he dared to eroti- cize the very moment of death. When Bava’s camera zooms into the car- nal remains of a murdered woman, his Madonna lighting always sees through the horror of violence to the Angel in the wreckage.


Bava was, at once, the last great gothic horror director and the genre’s first truly modern practitio- ner. Films like La frusta e il corpo and Operazione paura/Kill, Baby . . .


1 Phil Hardy, The Aurum Film Encyclopedia: Hor- ror (London, UK: Aurum Press, 1985, rev. 1993), 183.


Kill! (1966, which Phil Hardy de- scribed as “one of [Bava’s]—and therefore one of the genre’s—best pictures” 1


) are examples of progres-


sive, psychological dramas trans- posed to a Gothic milieu to accen- tuate their sense of dislocation, while Sei donne per l’assassino and Ecologia del delitto/Twitch of the Death Nerve (1971) provide precise blueprints for the “body count” subgenre that would dominate the horror genre throughout the remain- ing years of the 20th century, from Friday the 13th (1980) to I Still Know What You Did Last Summer (1998), and well into the next.


Bava’s films reflect a preoccupa- tion with fear, superstition and death so pervasive that it spills over even into the unlikely terrain of his sci- ence fiction, Western, and mythologi- cal films. This morbidity is occasion- ally offset by a mood of playfulness, wherein the darkness becomes all the more awful in its unexpected stance as a game, a friend, or the laughter of a child who happens to be dead. Unlike his British contem- porary Terence Fisher, whose hor- ror films concerned themselves with the classic broadstrokes of theological Good and Evil, Bava’s brushstrokes were more interior and individual—“spiritual” rather than “religious.” The specifics of his work are in fact so intimate, like those of the similarly enigmatic American director Tod Browning, they wield the arcane force of a creative catharsis.


Before Bava photographed and


co-directed I vampiri in 1956, no horror film tradition existed in Italy. Nevertheless, something in Bava’s character allowed him to see sunny Italy as a natural setting for ghost stories. Rome is, after all, an enor- mous ruin where every street corner harbors some antiquity more widely known among the dead than among the living. Just as David Cronenberg has suggested that his film The Brood (1979) could be read as “his” Kramer vs. Kramer (1978) for the way it ex- plores the horrific subconscious ef- fects of divorce, a film like Bava’s Il rosso segno della follia/Hatchet for the Honeymoon (1970) bears a simi- lar relationship to such mainstream Italian fare as Pietro Germi’s Divorzio


all’italiana/Divorce Italian Style (1961). Bava’s ability to express previously unexpressed moods and atmospheres on film may suggest him as a poet, but his ability to ex- press at once the dark side of him- self and his country confirms him as an artist of more than cult-level significance.


The horror, fantasy, and science fic- tion film genres were founded to de- pict stories and concepts that can- not be seen or experienced in our day-to-day lives. But as the years have passed, the horror genre has moved away from its roots as an abstract and expressionistic art form. And, as the motion picture in- dustry has evolved from a fantasy factory into the richest of all com- mercial businesses, the horror film has become—like all forms of cin- ema—increasingly realistic. By look- ing at the horror films produced by Universal Pictures between 1931 and 1941, a gradual movement away from expressionism, toward realism, can already be discerned. Reality was further enhanced by the first successes of Britain’s Hammer Films in the mid-1950s, with the addition of color and graphic and/or clinical violence. Hammer’s gifted resident cinematographer, Jack Asher, made occasional impressionistic experi- ments with color photography (see The Man Who Could Cheat Death, 1959), but never quite spilled over into the exciting, garish excesses of style flaunted by Jack Cardiff in the dark fantasies he photographed for Michael Powell and Emeric Press- burger, Black Narcissus (1947) and The Red Shoes (1948). What Mario Bava brought to the evolution of the horror film was ex- actly this brand of chromatic dar- ing, combined with an Italian eye for detail and florid exaggeration and an underlying sense of irony. It was not the ugly things in his films that frightened audiences; instead, Bava unnerved them with instances of beauty, poetry, symmetry, inverted imagery, metaphysics, mysticism, and above all, color. Color of abnor- mal intensity. Color that drew the eye to places it would not normally wish to linger. Color that shouted or





whispered warnings. Color that did not belong—that, in a realistic set- ting, could not possibly be there, thus intimating the presence of the supernatural. Bava’s films had the uncanny atmosphere of waking dreams, in which the imagery of the conscious could unexpectedly be eclipsed by glimpses of the subcon- scious or unconscious.


In many


ways, Bava’s work was the perfect cinematic equivalent of the prose of his favorite author, H. P. Lovecraft (1890-1937), where narrative was slippery at best, buried behind a ba- roque, harlequin-colored wash of false literary references, invented histories, and otherworldly atmosphere. Few genres are as dependent on narrative logic as the horror film, which carries the responsibility of making the unbelievable believable— or, at least, plausible. Because they concede to emotion—or even to aes- thetic reasoning—before logic, Bava’s films are sometimes described as weakly scripted.


It is my argu-


ment that Bava—who was described to me by many of his colleagues as an essentially intuitive artist who found it difficult to verbally commu- nicate his goals, needs or achieve- ments—was working toward some- thing new, something analogous in film to what musical contemporar- ies like Miles Davis and John Coltrane were simultaneously doing in the world of jazz. That is, break- ing away from the traditional stric- tures of melody and rhythm to ex- plore the possibilities of mood, invention and atmosphere. This is not to place Bava’s work in the same category as jazz, but we will see that his working methods often relied on spontaneity and the spirit of impro- visation, also essential to jazz. But, just as jazz could not exist without a traditional musical foundation from which to improvise, it would have been impossible for Bava to proceed along these experimental lines with- out his thorough grounding in all the laws and sciences of cinema. However improvisational, oblique,


and mood-driven Bava’s films may be, they are also frequently classical and romantic in character and ca- dence. Martin Scorsese has de- scribed Bava, perceptively, despite his modernistic tendencies, as a 19th


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