Prologue


century director. Rather than jazz, a more correct musical correlative to Bava’s work might be rhapsody; the pacing of his films is rhapsodic, their tenor is rhapsodic, the ripe overstate- ment of his visual sense is rhap- sodic . . . but his rhapsodizing is al- ways accompanied by shadings of irony, serious or comic, usually cast by the spectre of Death as it stands in eternal reproach of Bava’s—or possi- bly Rome’s—essentially romantic character.


What Bava was doing is also com-


parable to the changes that were si- multaneously taking place in the work of his fellow countrymen Michelangelo Antonioni and Federico Fellini, as they took steps beyond their neorealistic films of the 1950s toward their less rigorously struc- tured masterpieces of the early 1960s. Bava’s “neorealistic” phase could be construed as the traditional gothic horror styles apparent in both I vampiri and La maschera del demonio. As the 1960s progressed, his work too became more interior and existential, more interested in exploring the subconscious, or the unconscious, than the conscious; it was not the actor’s emotion or even narrative motivation that interested Bava most, but the correct color or mise en scène to bring the underly- ing truth of a moment to the sur- face—truth that could be more readily felt than explained. To achieve this, Bava exercised strict control over his uses of color and framing. According to film di- rector Joe Dante (who has had op- portunity to examine 35 and 16 mm elements of Bava’s films, first-hand), Bava favored the use of 1.85:1 hard- matting as early as his directorial debut La maschera del demonio, al- though the word “SuperPanoramico” (Italian hyperbole for the 1.85:1 widescreen format, as opposed to an- amorphic scope) does not appear in connection in the theatrical adver- tising for Bava’s films until Terrore nello spazio in 1965. The widest of


2 Joe Dante, email to the author, July 30, 2005. 3 Tube., “Black Sunday” review, Variety, February


9, 1960. 4 Carlos Clarens, An Illustrated History of the Hor-


ror Film (New York NY: G. P. Putnam’s Sons, 1967), 158.


the standard non-anamorphic gauges, 1.85:1 was analogous in shape to a painter’s canvas and, of all the available screen ratios, a 1.85 hard-matte was the least vulnerable to mishandling by projectionists, as it was impossible to overmatte or undermatte. It is true that Bava’s films were habitually cropped, or pan-and-scanned, when 16 mm prints were prepared for television. As Dante explains, “It’s rare that hard-matted films were released that way in 16 mm, as most TV stations hated the ‘black lines’ on top and bot- tom. And there are, indeed, cropped 16 mm prints of Blood and Black Lace that were intended for TV use, but all were in Eastman Color. The letterbox 16s are all IB-Technicolor and were made earlier for non-the- atrical situations like the Army, Navy and rental markets.” 2


Bava’s precise


attention to framing is further un- derscored by his reputation as the first member of the Italian filmmak- ing community to employ story- boarding as part of his process; he began doing this early in his career as a cameraman. Color, on the other hand, was much trickier to control. Forced to work economically, Bava typically shot his color films on affordable Eastmancolor stock, but aware of its tendency to fade over time, he in- sisted on striking his prints in Technicolor from the time Techni- color Roma began accepting outside film stocks for development in the mid-1950s. He was able to keep an eye on this process in Italy, but once his films were sold to other coun- tries, the matters of print duplica- tion and color process were left in the hands of his foreign distributors. Only since Bava’s original Techni- color work has become available on DVD has his audience been able to realize how much of their meaning and impact was formerly lost due to cheap, maladroit processing. For example, when Bava’s films were released in the United States by American International Pictures, the prints were struck in Pathé Color, which bled them of the po- tency given them by Technicolor’s various three-strip and dye pro- cessing, turning his richly confec- tionery images to a flat paste. With


this mishandling factored in, it’s no wonder that critics looked to the storylines for satisfaction and found them clichéd or otherwise wanting. We must remember that Bava


was bringing this level of care and attention to a body of work that was conceived and executed for per- haps two weeks of theatrical play at best, without any awareness of a future shelf life beyond that of late night television, where the movies would be butchered and sub- jected to commercial interruption.


Bava’s directorial debut, La maschera del demonio, was released in 1960, before anything resembling a seri- ous critical appreciation of the hor- ror cinema had come into being. Audiences, young and young adult, delighted in its inventive fusion of the classic Universal and recent Hammer brands of terror, the way it blended graphic horror with ex- pressionism and chiaroscuro, but there was no literature at the time capable of articulating exactly what it had accomplished. The premiere issue of the intelligent French jour- nal Midi-Minuit Fantastique was still two years away, and the Ameri- can alternative, Famous Monsters of Filmland, was so focused on American product that Black Sun- day somehow failed to receive timely coverage in its pages, at a time when every other new AIP re- lease was guaranteed at


 least a


three-page spread. What critical at- tention the film did receive tended to be naïve, jocular and ultimately dismissive. For example, while ac- knowledging the film’s visual so- phistication (and sweeping it un- der the rug before the first comma in the first paragraph), “Tube.”’s review in the American industry journal Variety likened Black Sun- day to “a grade school imitation of Poe,” and flaunted the writer’s ig- norance by remarking that Steele “bears a strong resemblance to Jackie Kennedy and manages to be attractive in both parts [of her dual role], which may not have been the original intention.” 3 Bava’s films received some of their earliest, appreciative attention in Midi-Minuit Fantastique (founded


May – June 1962), in reviews writ- ten by Michel Caen and Jérome Caulandre, and in Great Britain’s Monthly Film Bulletin, where initially callous and condescending notices by anonymous reviewers were suc- ceeded by attentive and appreciative notices by Tom Milne and Raymond Durgnat. Bava’s critical reception in English-speaking countries (includ- ing Britain) was complicated by the fact that the films were almost al- ways altered for foreign markets, without the director’s consent or approval. Therefore, while French critics wrote enthusiastically about La ragazza che sapeva troppo/The Girl Who Knew Too Much (1963) or La frusta e il corpo, American and English reviews greeted their hap- hazard recuts with lofty derision. They might have felt the same way whether the films had been recut or not because, after the great success of La maschera del demonio, Bava’s films became more resolutely visual and personal, less driven by narra- tive. The results were considered ex- hilarating in the homeland of the nouvelle roman and the nouvelle vague, but in America, where horror films were traditionally juvenile en- tertainment, Bava’s phantasmagori- cal and resolutely adult horror films were an uncategorical anomaly. In the first major book-length sur- vey of the horror genre, An Illustrated History of the Horror Film (published 1967), author Carlos Clarens cited Bava as proof that “if bad directors usually end up as photographers, the reverse of this axiom is just as valid and true.” 4


Clarens’ viewpoint stood


as the accepted wisdom for some time, but in the decades since those words were written, there has been a welcome, widespread reappraisal of Bava’s abilities as an artist and entertainer. Today, audiences are bombarded daily, hourly, with bravura displays of visual style in everything from fea- tures to television commercials to music videos. Stylish visuals have become so commonplace that they often cease to have any impact on viewers at all; we have been condi- tioned to respond only to what is ab- solutely new, and we become jaded to those nascent thrills as early as the second pass. Consequently, it is


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