Hellbound


later Schock/Beyond the Door II), La polizia chiede aiuto/What Have They Done to Your Daughters? (1974), Massimo Dallamano’s Il medaglione insanguinato/The Cursed Medallion (1975), Frankenstein all’italiana/Fran- kenstein: Italian Style (1977), Tentacoli/ Tentacles (1977), Solamente nero/The Bloodstained Shadow (1978, a rock score performed by Goblin), Ruggero Deodato’s Concorde Affaire ‘79 (1979), Joe D’Amato’s Orgasmo nero/Voodoo Baby (1980), Umberto Lenzi’s Incubo sulla città contaminata/City of the Walk- ing Dead (1980), James Cameron’s de- but feature, Piranha II: The Spawning (1981), and Lucio Fulci’s Aenigma (1987) and Voci dal profondo/Voices From Beyond (1990).


In 1992, he


scored the Ovidio G. Assonitis film Out of Control under the pseudonym “Steve Powder,” and most recently, he came out of retirement to write a new score for Alfredo Leone and Lamberto Bava’s controversial recut of Cani arrabbiati, Kidnapped (2002).


Release


Nuova Linea Cinematografica first re- leased Ecologia del delitto in Italy in early September, but it attracted little boxoffice excitement and soon folded. A month later, it played at the Sitges Horror Festival, held at the Cine Retiro in Sitges, Spain, under the short-lived title Antefatto—l’ecologia del delitto (“Before the Fact—The Ecology of Crime”). 14


An uncredited Variety re-


viewer caught its October 10 screening and seemed somewhat enthusiastic: “Mario Bava’s newest blood-and-gore thriller should titillate horror buffs ap- preciative of new filmic techniques for mayhem. Using a minimal storyline, Bava unspools a welter of murders which are committed in an isolated country house. Though the motiva- tions are murky and the killings gra- tuitous, the blood flows with curdling realism . . . Between killings, however, dialogue falters and the non-existent storyline makes for some slow pac- ing. But before we can become bored, Bava comes up with new ploys for vio- lence and thus, till the final, unsatis- factory denouement . . . Bava’s tech- nique is effective enough in the scenes of violence, though the remainder of pic is pedestrian. Acting is stiff and one-dimensional, but this is of minor


860


ADVERTISEMENT that appeared in the May 7, 1972 edition of the Boston Sunday Globe.


consequence in a pic relying wholly on stomach-churning horror effects . . . Pic should do well as a double-bill horror filler.” 15 With the film dependent on foreign


sales to recoup its investment, Mario Bava was moved to the unprecedented extent of promoting it by consenting to be interviewed for the distinguished French film journal Positif. Conducted by Ornella Volta, and subsequently reprinted (in abbreviated form) in the Spanish horror fan magazine Terror Fantastic, it would be the longest, only career-length interview that Bava ever granted, not counting the memoir he would later pen—reportedly under


duress and at the last possible minute— for the 1979 Cinecittà tributary book, La città del cinema.


Bava’s film somehow came to the attention of Steve Minasian, whose Boston-based company Hallmark Re- leasing Corporation had a US distri- bution deal with American Interna- tional Pictures, which enabled AIP to benefit financially from films they con- sidered too violent, adult or crassly exploitative to carry their own imprint. Hallmark’s first release had been the notorious Mark of the Devil/Hexen bis aufs Blut Gequaelt (“Witches Tortured Till They Bleed,” 1969), a German pro- duction co-directed by British film critic Michael Armstrong and German actor–singer Adrian Hoven. An exces- sively gory account of witch hunts in 18th century Austria, the movie made


headlines as the first picture to be released outside the sanctions of the Motion Picture Association of America’s ratings system since its inception in 1968. Taking advantage of the MPAA’s loophole that no producer was obliged to submit a film for a rating, Hallmark promoted Mark of the Devil as “The 1st Film Rated V for Violence!”—and further emphasized the nature of the film by presenting ticket-buyers with complimentary “vomit bags.” Minasian acquired the US distri- bution rights to Ecologia del delitto, which by this time became available in an English-dubbed export version called Carnage—a title perhaps in- formed by the film’s roots in Bava and Betti’s aborted Odore di carne project. On Tuesday, May 9, 1972, Hallmark booked the film at Boston’s Astor The- ater for an all-day “Free Public Pre- view,” and placed newspaper ads that put Bava’s name (misspelled) above the title and ballyhooed the picture as “The 2nd Film Rated V for Violence!” Large display ads were placed in the Boston Sunday Globe two days in ad- vance of the booking, announcing that “Carnage is the real thing—the first movie that dares to show—‘Hard Core Violence.’” The appearance of this second “V


for Violence” campaign (and the re- sounding success of the first) prompted the MPAA to bring suit against Hall- mark, alleging that the company’s ad- vertising intruded on their exclusive right to rate motion pictures. After a brief stand-off, Hallmark relented and agreed to never use the campaign again. In the meantime, Carnage was temporarily withdrawn from release. (The MPAA subsequently fine-tuned their rules to state that, while no pro- ducer was obliged to submit a film to the MPAA for rating, any film not sub- mitted must carry either a self-im- posed X rating—“No One Under 17 Admitted”—or no rating at all.) By November 29, Bava’s film reap- peared under the Hallmark banner with an outrageous new title—Twitch of the Death Nerve—and a new gim- mick . . . or, more accurately, a refur- bished old one, as it was somewhat indebted to the “Coward’s Corner” conceived by William Castle for the re- lease of his 1961 shocker Homicidal. Newspaper ads for Twitch announced that “Every Ticket Holder Must Pass


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