Prologue


had suggested to his producers that Bava direct his segment, and his screenwriter, Bernardino Zapponi, was a personal friend of Bava’s as well as an admirer, so the short’s primary authors were fully conscious of their debt. When Italian horror again became fashionable, it was due to the success of the giallo thrillers of Dario Argento, whose debut L’uccello dalle piume di cristallo/ The Bird With the Crystal Plumage (1970) re-energized a dormant genre which Bava had first crystal- lized with La ragazza che sapeva troppo and Sei donne per l’assassino. As a young film critic for the leftist newspaper Paese Sera, Argento had been galvanized by his early exposure to these films. Another Italian director who freely


admitted his debt to Bava’s oeuvre was Aristide Massaccesi (1936-99), better known as “Joe D’Amato,” who cut his teeth in the film business working as a camera assistant to both Eugenio and Mario Bava. When the former cameraman di- rected his first film, a slice of Ital- ian gothic called La morte sorride all’assassino/Death Smiles on the Murderer (1973), he was fully con- scious of working in a cinematic milieu which Bava had introduced. “I wanted La morte sorride . . . to


appear drenched in the atmosphere of the Victorian era,” Massaccesi told interviewer Peter Blumenstock. “Ro- manticism was the main subject I wanted to create, not just because it suited the genre perfectly, but also because I felt a lot like that back then . . . It was the only one of my films which I have signed with my real name, mainly because it is my most personal work and the one that means the most to me in my entire career. Mario Bava’s work inspired me a great deal on this project.” Bava’s influence quickly ex- panded beyond the local to become international. His work had a dis- tinct impact on horror cinema pro- duced in various Latin countries, including Mexico (Rafael Baledón’s La Maldición de la Llorona/The Curse of the Crying Woman, 1961), Brazil (José Mojica Marins’ A Meia-Noite Leverei Sua Alma/At Midnight


I’ll


Take Your Soul, 1964) and Spain (where images from Bava’s films


26


are frequently quoted in the films of actor/director Paul Naschy, who ad- mits in his autobiography Memoirs of a Wolfman that he took his young bride to see La maschera del demonio on their honeymoon). In America, Bava scored a major admirer in his fellow American In- ternational director, Roger Corman. “Mario Bava, to me, was one of the greatest practitioners of Gothic hor- ror films,” Corman told an inter- viewer for the SKY TV documentary Mario Bava Operazione Paura in 2004. “He made many kinds of films, but I think his finest work was in the Gothic tradition. I never met him but our thinking was along the same path. We both tried to do good work on low budgets; we both succeeded, I hope, in different ways. I think I learned from him much to do with camera work—for example, with picking angles to make a small and confining set look bigger. I was par- ticularly impressed, and probably in- fluenced, by his work in chiaroscuro, his use of deep focus, hard light, and hard dark. He also had a unique personal style and I learned a great deal from that. If he was influenced by me, as some have suggested, it was possibly more conceptually than technically, because technically he was brilliant. I think Bava was a bril- liant artist—a true artist—and his work was universal; it reflected a Eu- ropean sensibility, but also reso- nated with the American audience.” Corman was so impressed by Black Sunday that he cast Barbara Steele in his next Poe picture, Pit and the Pendulum (1961), and Bava’s garish color experiments were stu- diously recreated in the opening montage of The Raven (1963). Like- wise, the mob execution which opens The Haunted Palace (1963), and the ensuing plot of the reincarnation of the evil Joseph Kerwin (Vincent Price) masquerading as his own de- scendant, mirror aspects of Black Sunday. Another episode from the film was remade in Corman’s The Masque of the Red Death (1964), as Jane Asher looks upon the dormant form of Vincent Price reposing in a coffin as though asleep . . . briefly looks away . . . and then looks again to see his eyes wide open, devilishly mocking her entrapment. As Bava’s


horror films grew more metaphysi- cal in the mid-1960s, Corman’s work became more psychedelic, and both directors gravitated to flirtations with pop culture and other genres in the late ’60s and early ’70s. By the mid 1970s, Castle of Fran-


kenstein magazine was defunct. Joe Dante relocated from the East coast to Los Angeles, where he got a job in the trailer department of Corman’s fledgling distribution company, New World Pictures. It was there that Dante and fellow editor Allan Arkush talked Corman into allowing them to direct a joint first feature, Holly- wood Boulevard (1975), a picture that would cost so little to make, they reasoned, it couldn’t fail to make money. Though ostensibly a satire of the New World film factory, the picture’s final act contains a surpris- ing (indeed, jarring) number of Bavian visual touches: saturated gel lighting, fog, a menacing assassin, vicious murders.


“It was a comedy, but I figured it might be my last chance to make a movie at all, so I inserted this long hommage to Mario Bava,” Dante con- fesses in the documentary Mario Bava Maestro of the Macabre. “I couldn’t let anything from me go without some acknowledgment of the fact that Mario Bava was one of my favorite filmmak- ers.” Thus, Bava’s once-unique ap- proach to the horror genre began to be emulated by a second generation of filmmakers.


In July 1976, London’s National Film Theatre presented a lengthy ret- rospective devoted to “12 Masters of the Italian Cinema.” Of the directors saluted by this exhibition, Federico Fellini, Michelangelo Antonioni, Luchino Visconti, Roberto Rosellini, Vittorio De Sica, Pier Paolo Pasolini, and Bernardo Bertolucci had already been the subjects of books or mono- graphs written in English; others, like Pietro Germi and Elio Petri, had been solidly represented by scholarly exegeses in film journals. Of the NFT’s dozen maestri, only Mario Bava was unfamiliar to the majority of attendants, but it was yet another sign that recognition was in the cards for Bava, whether he wished it or not.


Back in Italy, the popular thrill- ers of Dario Argento began to move


it was essentially a witless, Americanized, carbon-copy of the movie released in America as Twitch of the Death Nerve. As Cunningham himself now readily admits, “Cer- tainly anybody who was making hor- ror films in the ’80s owed an awful lot to Mario Bava.” 10


Friday the 13th


became a prime franchise title for Paramount Pictures, continuing through nine sequels and a spin-off television series to date. In the early 1980s, videocassette players and recorders became luxu- ries that most anyone could afford. Those of us who had been fans of Bava’s films since the 1960s, not knowing when (if ever) we might see our favorites again, could finally record them from local television broadcasts, edit out the commercials,


10 Sean Cunningham, Mario Bava Maestro of the Macabre interview transcript, 2000.


away from lucidly cruel and photo- genic gialli toward matters of magic, which Argento and his cameramen summoned forth by emulating Bava’s past experiments with satu- rated gel lighting in the supernatu- ral films Suspiria (1977) and Inferno (1980, on which Bava himself worked as an uncredited special effects de- signer and second unit director). During this period, French director Jean Rollin paid his own hommage to the film released in Paris as La Masque du Démon by photograph- ing Brigitte Lahaie flanked by a pair of menacing dogs in Les Raisins de la Mort/The Grapes of Death (1978). It was not until 1980—the year of Bava’s death—that he exerted his greatest and most lasting influence, when the “body count” subgenre that Bava had founded with Sei donne per l’assassino and Ecologia del delitto was revisited in Sean Cunningham’s Friday the 13th (1980). Indepen- dently produced for only $500,000 (in itself, more than Bava had ever spent on a picture, even those with name stars attached), Cunningham sold the picture to Paramount for an advance of $1,500,000; the distribu- tor then lavished $3,000,000 on publicity and advertising and raked- in total gross receipts of an estimated $35–40,000,000. Friday the 13th had none of Bava’s visual technique, but


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