Love and Death


When asked what he remembers best about this production, Luciano Pigozzi laughs, “I remember . . . many women!” All these years later, his voice still con- veys a sense of the delight he felt at being surrounded daily by so much feminine beauty—which brings us to the “sei donne.” In the order of their deaths, the first is Francesca Ungaro, who plays the short-lived role of Isabella—whose red- bound diary is the motivation behind the film’s mayhem. Ungaro doesn’t seem to have had a film career before or after this movie, so there’s not much that can be said about her. Although stuntman Freddy Unger is sometimes billed as “Goffredo Ungaro” in Italian films, this actress/model was no rela- tion to him. In fact, considering that a “Via Francesca Ongaro” exists in Rome, the name of this apparent one-time performer may be pseudonymous. Similarly, little is known about Ariana Gorini, who gets a remarkable amount of screen time as Nicole, the antiques shop murder victim—a strong contender for Bava’s greatest setpiece of horror and suspense. She was originally known as Adriana Gorini in the early 1960s, when she was fre- quently seen on the covers of fashion magazines, and subsequently gradu- ated to television commercials for Pocket Coffee (a brand of chocolate), in which she appeared with Ugo Tognazzi. Gorini appears to have made only one other picture—Alberto Lattuada’s L’imprevisto (1961), star- ring Anouk Aimée and Tomas Milian. Ms. Gorini was recently discovered liv- ing in Milan, where she works as a medium.9


 Fortunately, there is a bounty of in-


formation to report about Mary Arden, the cool blonde who plays the role of Peggy. Born Dawne Hoffman on July 30 in St. Louis, Missouri, she was the daughter of a Russian-born concert pianist who was killed in a traffic ac- cident while she was still very young, and raised by her mother with the Arden surname. A working dancer since the age of 9, Arden settled with her widowed mother in Florida, where she found her first international suc- cess as one of the legendary June Tay- lor Dancers, best remembered for their appearances on The Jackie Gleason


552


time I got knocked down during the fight—which, you can be sure, was repeated many times. They never got the mattress in the right spot to cush- ion my fall. They meant well, but I always hit the hard ground. I can as- sure you I was very bruised in this film!” Though Arden was filmed par- ticipating in these stunts, she does not appear in all of the stunts as they are seen in the final cut. Freddy Unger, who also worked as the film’s stunt coordinator, explains that Bava always took a set approach to the filming of important action scenes, because he knew that actors usually fought for the right to do their own stunts, but very few of them were able to really sell a fight (for example) on camera. “Mario had learned a very important lesson from working with Riccardo Freda,” Unger explains. “He would shoot his action scenes in their entirety with the stunt men, like me, so that he was completely covered— and then he would bring in the actors to film as much or as little as they liked. If the actors gave him any trouble, he would say, ‘That’s okay, I have all I need!’” 10


Therefore, before the violent scenes


THIS SHOT of the killer dragging Peggy away from her apartment clearly shows that Mary Arden was not involved in this stunt.


Show. Once in Europe, she decided to focus on modelling with an eye on fur- thering her acting career. She was a highly successful fashion model in France and Italy, doing couture collec- tion shows for Yves St. Laurent, Chris- tian Dior, and Karl Lagerfeld, and ap- pearing on the covers of numerous magazines, including Harper’s Bazaar, Madamoiselle, and Italian Vogue. Feel- ing a greater affinity for the Italian people, she relocated from Paris to Rome and began appearing in films, including Gianni Puccini’s L’attico (1962), written by La maschera del demonio’s Ennio De Concini. Gifted


with a natural facility for languages. Arden came to Europe monolingual but quickly added French and Italian to her repertoire. Once she was cast in Sei donne per l’assassino, this talent worked to the advantage of Bava’s film. “The Italian guy who wrote the


script had no great knowledge of American or English conversation, so the script was full of mistakes,” Arden recalls. “Being fluent in three lan- guages, I offered to rewrite the dialogue for Mario while we were filming, so it would make better sense. He was very grateful.” Arden remembers performing the majority of her own stunts in the pic- ture. “When we were doing the fight scene in my apartment, the stage- hands were supposed to whip a mat- tress under me to break my fall every


between Peggy and the killer were filmed with Mary Arden, the same scenes had already been filmed—with- out the actress’ knowledge—using a stuntman in drag. A production still exists that shows Peggy’s limp body being dragged upstairs by the masked assassin, and the body certainly does not belong to the glamorous Arden, with its swarthy arms, skinny legs, and ratty blonde wig.


Arden states emphatically that “the


most difficult part of my performance was the five days I spent playing a dead


9 Some years ago, I was responsible for spread- ing the rumor that Gorini was in fact a German actress named Diana Koerner, whom I had seen in the West German Edgar Wallace krimi Die Blaue Hand/Crea- ture With the Blue Hand (1967). Not only did Ms. Koerner greatly resemble Gorini, she was also terror- ized in this film by a spiked metal glove, much like the one that brings such a swift and merciless end to Nicole in Sei donne per l’assassino. However, as I was pre- paring to record my audio commentary for VCI Home Entertainment’s Blood and Black Lace DVD, my corre- spondent Uwe Huber succeeded in speaking to Ms. Koerner, now an actress on a German TV soap opera. She assured him that she had never worked under the name Ariana Gorini, and though she was familiar with Mario Bava by name and reputation, she never had the pleasure of working with him.


10 Freddy Unger interviewed by the author, January 5, 2001.


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