Prologue


and watch them to our heart’s con- tent. I can remember some fans voic- ing concern at the time, that Bava’s mysterious works might not stand up to closer scrutiny, that they couldn’t possibly live up to our memory of the moment when they first took us by surprise . . . but Bava’s films turned out to be even better than we remembered them. The sudden access which his grow- ing number of admirers were granted to these once-elusive documents made their further study irresistible. Inevitably, the first book devoted to Bava’s films appeared a short time later, when Pascal Martinet’s Mario Bava was published in France in January 1984. The VCR brought about other cul- tural changes which could not have been anticipated by the movie main- stream. By the 1990s, most film buffs had managed to collect cop- ies—on Beta, VHS or LaserDisc—of nearly every movie classic they might ever want to see. As a result, there was a conspicuous drop in atten- dance at theatrical retrospectives devoted to such revered filmmakers as John Ford, Orson Welles and Alfred Hitchcock. Alternative mas- ters were suddenly desperately needed. Thanks to a collection of 35mm and 16mm prints indepen- dently assembled by Alan Upchurch, Carlos Sylva, and Joe Dante, Mario Bava suddenly became a major draw on the retrospective circuit, attract- ing the very fans who had discov- ered his work on video and never had the experience of seeing it on the big screen.


Made possible largely through the


efforts of Upchurch and Sylva, three Mario Bava retrospectives were pre- sented in the United States in 1993— in San Francisco, New York and Los Angeles. The San Francisco pro- gram, held at


the Roxie Cinema,


was well-attended, as was an ex- haustive and ambitious series un- reeled at Manhattan’s Film Forum


over a two-week period. The Ameri- can Cinematheque’s three-day ret- rospective in Los Angeles—hosted by Joe Dante, myself, and several stars of Bava’s films—sold-out well in ad- vance, and sizeable throngs hoping to buy tickets at the door were turned away from most screenings, prompt- ing a second retrospective in August 1996. In 1998, the British Film In- stitute organized a near-definitive, month-long Bava retrospective, showing nearly all of the films he directed.


In 1994, the second book devoted to Bava’s work appeared in France: a collection of scholarly essays by various contributors, published by the Cinématheque Française Musée du Cinéma under the editorship of Jean-Louis Leutrat. The following year, the first Italian book on the subject was published in Milan, writ- ten by Alberto Pezzotta. Both books, like Pascal Martinet’s of a decade earlier, were simply titled Mario Bava. In October 1998, a German com- pany called Lucertola Media ob- tained the rights to a rough assem- bly of Bava’s unfinished 1975 crime picture Cani arrabbiati, en- titled Rabid Dogs, and released it on a new compact video disc for- mat called DVD. Limited to two modest pressings, it was the first movie to be released exclusively in the DVD format. Then, in Decem- ber 2000, Image Entertainment (in collaboration with producer Alfredo Leone) launched “The Mario Bava Collection” on VHS and DVD, with each release in the latter format ex- tensively annotated and with an audio commentary for Black Sun- day by this author. The series sold so well, and scored so well with re- viewers, that other companies fol- lowed suit—notably VCI Home En- tertainment with their lavish DVD editions of The Whip and the Body and Blood and Black Lace, which also featured my commentaries. In May 2002, the American Cinem-


11 David Bell, “Mario Bava” entry, The Penguin Encyclopedia of Horror and the Supernatural (New York NY: Viking, 1986), 24.


12 “Pepla” is the plural form of peplum, a term coined for the genre by French critics, in reference to the short pleated garments worn by the heroes of these films.


atheque hosted a second Bava ret- rospective that included the world premiere of Kidnapped, a controver- sial recut of Bava’s unfinished Cani arrabbiati, produced by Alfredo Leone and completed by Lamberto Bava. In the subsequent year, a


package of thirteen Bava films owned by Leone’s company International Media became available for 35mm bookings across the country, and major 2003 Bava retrospectives were held in Boston, Chicago, Cleveland and New York. In July 2006, Korea joined the now-long list of countries hosting Bava retrospectives.


As exhaustive as these Bava festi- vals may seem, even the month-long BFI program told less than half of the truth about Mario Bava. He was much more than “the supreme vi- sual poet of the Italian Gothic cin- ema,” as David Bell once eloquently described him. 11


 Indeed, if it could


be said of any individual, Bava was the postwar Italian cinema—at least for a period spanning three decades (1945-75). Just as assuredly as Hitchcock defined the thriller, Chaplin the silent comedy, Ford the American Western, the record shows that Bava was present at the defin- ing moment of not one, but each of Italy’s native postwar genres: the neorealist and opera films of the 1940s, the pepla 12


(“sword and


sandal”) and baroque horror films of the 1950s and, in the ’60s, the Spaghetti Western, the comic West- ern and, most definitively, the giallo—that violent, decorous, and peculiarly Italian breed of murder mystery. If any man can be described as a seminal filmmaker, that man is Mario Bava. Furthermore, no appreciation of Bava published to date has ad- equately come to terms with the fact of his twenty-year reign as one of Italy’s leading cameramen, or pon- dered how the first half of his career may have influenced the second half. (Bava disliked the terms “cinematog- rapher” and “director of photogra- phy,” which he considered preten- tious, so this book will observe his preference.) In fact, Bava’s work as a cameraman included as many, if not more, popular successes than did his later years as a director. Nev- ertheless, in most reference books, Mario Bava’s life and career begin with La maschera del demonio. This book corrects that error, telling the complete story of Bava’s career for the first time.


As I discovered in the midst of my


research—and subsequently made known through various articles, DVD liner notes, and audio commentar- ies—Bava not only directed and pho- tographed his films; he also created their special visual effects. He never took credit for this work; not because he didn’t like to draw attention to himself, but because he believed that explaining how special effects were done (or that they were even present) was antithetical to their purpose. He often served as his own matte painter and maquette builder, and he was capable of staging the most miracu- lous scenes using common ingredi- ents that could be found in any kitchen. On a couple of his films, he was given so little in the way of sets that he was forced to rely on his mas- tery of atmosphere and trick pho- tography to camouflage what had not been placed at his disposal. This furthers Bava’s range of responsibil- ity into the realm of art direction. Interviews and stills also support the fact that Bava took a direct hand in decorating his sets before filming them—by adding cobwebs to crypts, rotting meat to skeletons, whatever was needed. Thus, at a time when cinema tech- nology was exploding—introducing light-sensitive film stocks, faster lenses, expensive cranes, and so forth—Bava worked as a modern day antiquarian, making films largely by hand, incorporating into them his talents for painting, sculpture, and trick photography, as well as the naïve techniques of silent filmmak- ing he had learned as a young ob- server in his father’s home studio. It was not uncommon for Bava to close down production for a few days, in order to work at home on a glass matte painting that would transform a plain hillside into an ivy-laced temple in ancient Rome.


Adding to my frustrations and ex- hilarations as the author of this book was my discovery that Bava’s film- ography does not end with the mov- ies he directed and photographed. Whenever he wasn’t otherwise en- gaged, Bava was ready and willing to add pick-up shots, lend technical ad- vice, or amplify the production values of a friend’s impoverished production with his trick photography—all of


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