Four Times That Night


to, and living in, different places, which result in different subjective moods, perceptions, and perspectives. As we see the concluding shot of John’s car driving toward the horizon one last time, the professor asks if we really believe that John took Tina straight home—and then he reveals that, on the contrary, he took her to the sea where they watched the sun rise together, while everyone else had an ordinary day.


The significance of this lecture— which, alas, the professor himself fails to express—is that love not only bends the way we perceive our world and ourselves, but it is the only factor ca- pable of bringing our hopelessly di- vided and disagreeable species to a perfect oneness of mind and heart.


Cast


Cast as the story’s male lead was American actor Brett Halsey, born Charles Oliver Hand in Santa Ana, California, on June 20, 1933. After a stint in the US Navy, he worked briefly as a disc jockey before turn- ing to acting, and he spent his earli- est acting days as a latter-day con- tract player at Universal. He took the name Halsey, legally, from his great uncle Admiral Halsey, one of the leading Naval officers of WWII. And “Brett seemed to go well with it,” he explains. 4


His Universal days were


spent in thankless bit parts in B-pic- tures, the only one of real historical interest being Jack Arnold’s Revenge of the Creature (1955), in which he plays a teenager killed by the Gill Man. When his Universal contract expired, Halsey spent five years as a freelance actor, and then was placed under contract at 20th Century-Fox for three years. One of his first star- ring roles was in Return of the Fly (1959), opposite Vincent Price—with


 “ONLY you for ever” The only inscribed photograph of Mario Bava known to exist, from the collection of actor Brett Halsey.


whom he worked again in 1963’s Twice Told Tales. In the early 1960s, Halsey made his first professional trips to Italy to star in two historical swashbucklers for Riccardo Freda, Le sette spade del vendicatore (1962, on the set of which he met Bava, who was directing the lighting of some scenes) and Il magnifico avven- turiero/The Magnificent Adventurer (1963).


“While I was making Twice Told


Tales, I got an offer to go back to Italy and do four films,” Halsey re- calls. “I went over, after the four films it became five and six, and the next thing, it had been years and I’d be- come an Italian actor! I lived in a con- dominium sort of thing, the top two floors of this condominium in the Pina Clara section. They used to call it ‘the American ghetto’ because there were so many Americans living there.” 5 The former husband of Italian ac-


tress Luciana Paluzzi, Halsey was married at the time to German ac- tress Heidi Bruhl. He worked in a number of dif ferent


Italian film


genres during the 1960s, notably spy pictures (Operazione Polifemo/Spy in Your Eye) and Spaghetti Westerns (Uccidete Johnny Ringo/Kill Johnny Ringo), and actually launched a sec- ond career earlier in 1968 when he consented to star in Tonino Cervi’s Western Oggi a me, domani a te/To- day We Kill . . . Tomorrow We Die!, scripted by Dario Argento—a picture Halsey did “only for the money”— under the pseudonym “Montgomery Ford.” Four Times That Night was Halsey’s first erotically themed pic- ture, and he explains his reasons for accepting it: “I liked the script. I’ve always liked comedies. It was obvi- ous that it was a sex comedy, but a mild sex comedy. It had an erotic premise, I’ll grant you, but there re- ally wasn’t anything to it that would even qualify as softcore.” When the picture went into pre-


4 Brett Halsey, as quoted in Mike Ferguson and


Steve Fentone’s interview conducted October 9, 1993, in “Roy Colt Shoots His Mouth Off,” European Trash Cinema 12, July 1995, 12–20.


5 Ibid.


production as Una notte fatta di bugie, different trade ads announced that the female lead would be played by either Jacqueline Sassard (Acci- dent) or Brett Halsey’s ex-wife Luciana Paluzzi (Thunderball). The woman finally cast opposite Halsey was Daniela Giordano, born in Palermo in November 1947, who became a celebrity after winning the


Miss Italy competition of 1966. She was only the second Miss Italy to launch a successful acting career; Lucia Bosé had been the winner of the 1947 contest—with Gina Lollo- brigida and Gianna Maria Canale among her runner-ups. (Though she was a contestant in the 1950 com- petition, Sophia Loren—then Sofia Scicolone—won only the honorary title of “Miss Elegance.”)


“The qualities needed to win the


contest aren’t necessarily relevant to the ones you need to pursue a movie career,” Giordano observes. “Due to the fact that I had bad quarrels with the director and owner of the con- test, in the official history of the con- test, it says and I quote, ‘she did only very few things in the movie busi- ness.’ Every year, on the occasion of the contest, I read the same thing in the newspapers! This has been a way which the director of the contest— who is still alive, and now almost 80 years old—took revenge for my dis- graceful behavior. From his point of view, he gave me the chance to be- come rich and famous. Thus, every- thing he suggested should have been accepted with extreme gratitude, but I was not that kind of girl. I wasn’t interested in spending time with the ‘right’ people—who I found old and boring; I preferred to escape from these ‘duties’ by hanging out with some not very important young men of my own age. The point was, I was not prepared in my soul to be obli- gated. For me, the contest was only a new happening. I came from a good family and never had problems with money (my father worked in the Bank of Italy), so I couldn’t understand why I should do things I didn’t like or have to accept reproaches from anyone.” Because Giordano spoke English, she also became the first Miss Italy to be invited to meet the President of the United States. Mak- ing a Columbus Day trip to the United States, she met President Lyndon Baines Johnson, as well as New York State Governor Nelson Rockefeller and New York City Mayor John Lindsey. Her indomitable spirit inspired her nickname, “The Wild Girl From Palermo,” an epithet she enjoyed. “When I did this movie,” Giordano confesses, “I was 23 or 24 years old.


In my mind, I lived on an other planet—I mean, I lived outside the movie business, so I had never heard the name of Mario Bava before. When my agent talked to me about him the first time, he said, with a little gri- mace, that Mario Bava was a direc- tor who often worked on horror sub- jects. My agent’s face was not particularly happy, as it usually was when he had a good offer. I was at a strange point in my career. I still had a certain popularity from the beauty contest; the public knew that I was an actress, because my photos were often in newspapers and magazines; but, for some reason or other, my films had not been so popular. So my agent was worried, because it would have been dangerous for my name to be attached to a big flop. But he added that Bava was a very good cameraman, and so,


in any


case, to do a film with him could not damage me.


“When I met Mario Bava and Dick Randall for the first time,” she con- tinues, “they were excited about this new film. They told me it was some- thing very new—the famous Japa- nese film Rashomon, retold in mod- ern terms. (I didn’t tell them I had never heard of this film before in my life; I just said, ‘Ah, fantastic!’) They gave me the script. I read it and I was still doubtful. But I was 24 years old, at the beginning of my career, and my agent told me that Mario Bava was a well-known director. Also, I had the main part, and above all, the movie was going to be shot at the De Laurentiis Studios, which at that time was almost a guaran- tee of success. Many, many years later, I finally saw Rashomon, an old film in black-and-white. Though I didn’t like it very much—it’s kind of boring—I could understand why it was considered a masterpiece of international cinema. Of course, it has nothing to do with Four Times That Night, except for the schematic of the narrative.” Valeria Sabel, who gives the film’s outstanding performance as various versions of Tina’s mother, was the wife of Virgilio Sabel—the documen- tary filmmaker who had collaborated with Bava on the animated short Una lezione di geometria in 1948. Valeria had previously appeared in Sergio


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