Any prospect of a theatrical release was
Luca returns to his parents’ home after a 15-
quickly abandoned. Anemia was broadcast on
year absence with his fiancée Margit. There, as a
1986: La casa
37
kid, he pushed a little girl to her death from a ter-
backup on the part of the State. The article was
race while playing hide- and-seek, and he is still
at the center of many controversies, since many
haunted by the memory of the accident. Luca be-
of the movies that benefited from it had hardly
comes obsessed with a mannequin that looks like
any distribution or visibility, and often resulted
the deceased girl and starts to see her everywhere.
in soporific or pretentious dramas which sig-
Meanwhile, strange things are going on in the
naled a regression in the young generation of
house, and Luca’s neighbors (and former child
filmmakers, with a stoic refusal in dealing with
playmates) Ayesha and Bruno—who seem to be
genres, paired with wishful auteur ambitions.
aware of his secret—keep spying on him. Luca
Unfortunately, Cino’s film was no exception.
slowly loses his mind. Suddenly a mysterious in-
The story encompasses some typical genre
dividual appears in the house, wearing a scary
elements, revised in a psychoanalytic way. The
mask that once belonged to the dead girl. After
haunted house where Luca and his girlfriend
an argument, Margit leaves the house and Luca
move appears to be haunted not only by the pro-
finally succumbs to madness…
tagonist’s memory and his sense of guilt, but also
Coming three years after his debut Il cava-
by the mysterious Ayesha, a “timeless woman
liere, la morte e il diavolo (983), an uncredited
… a keeper of a memory and a grudge” who
adaptation of Arthur Schnitzler’s novel Traum-
carries on a complex vengeance that is accom-
novelle (a.k.a. Dream Story), La casa del buon ri-
plished only in the film’s last images. Is Ayesha,
torno marked Beppe Cino’s second feature film.
who does not seem to get older as years pass, a
A CSC diplomat, and an ex- assistant of
Roberto Rossellini from 972 to 97,
Cino (born in Racalmuto, Sicily, in
947) wrote and produced the movie on
a small scale, shooting it in just twelve
days, on 6mm and with a budget of 300
million lire, with only one professional
actor, Amanda Sandrelli. “It was a
movie we decided to make quickly, like
pulling out a tooth.”2
The project had a curious genesis,
as in Spring 98 Cino had announced
a film with the same title but a com-
pletely different plot, which revolved
around the phenomenon of “repentant
terrorists.” “It is a story set in Rome in
the arc of only one night, from dusk till
dawn, during which the characters ex-
perience decisive happenings, which
sow the seeds of doubt even in those
who were irreducible.”3 The project
eventually took form under the title
Rosso di sera, released in 989. Mean-
while the director recycled the title for
a completely different story, which he
described as “a Gothic-fantastique film,
in which oneiric moments fit together
with psychological, illusory and believ-
able ones,” even quoting Jorge Luis
Borges as an influence.4
As was the case with his first film,
La casa del buon ritorno was judged
“of national cultural interest” accord-
Atmospheric Italian locandina for La casa del buon ritorno
ing to article 28 of the 96 Corona
(1986, Beppe Cino) (art by enzo sciotti, photograph by
law, and therefore worthy of financial
Angelo Frontoni).
38 1986: La casa real presence, or a supernatural one? Is she a
What is more, the style is unripe, with
witch who uses her magic powers to manipulate
plenty of dull long takes and talky bits, and with
the other characters’ will and actions? Cino
the debatable addition of scenes where the cam-
keeps this ambiguousness throughout the whole
era, placed at ground level, frantically runs be-
story, “within that area of phenomena which are
hind the main character across the street or a
at the edge of pathology, but certainly cannot be
flight of stairs à la The Evil Dead—an ill- fated
labeled as ‘paranormal.’”6
stylistic choice which plagued Cino’s first film
In developing the protagonist’s descent into
as well. The graininess and darkness of many
madness, La casa del buon ritorno sticks to the
scenes, the result of the low budget and haste,
category of the “paranoid text” characterized, in
were highlighted when the 6mm negative was
David Punter’s words, by “the shift towards the
blown up to 3 for theatrical distribution.
psychological, the increasing complexity of ver-
La casa del buon ritorno premiered at the
ification, the emphasis on the ambivalence of
986 Venice Film Festival, in the collateral De Sica
persecution.”7 Cino himself claimed it was nec-
section, to scathing reviews. La Stampa dismissed
essary to reprise the themes of 8th and 9th
it as “below an acceptable professional level… .
century tradition with a renewed sensibility and
Stefano Gabrini, awkward and awful, just cannot
awareness. “Nowadays, our contemporary world,
act. As for Amanda Sandrelli, her unfortunate
the knowledge we have of the conscious and un-
line ‘An asshole! That’s what I am, an asshole!’
conscious nature of our actions, are all elements
was greeted by enthusiastic applause, which
to rethink our reality in a ‘fantastic’ way, without
meant the audience agreed. But it wasn’t the ac-
the need, as it was in Gothic literature, to plunder
tress’ fault.”0 The Corriere della Sera summed up
among the dumps of the supernatural.”8
effectively the film’s main issues: “It is not clear
The “return of the repressed,” linked with
whether La casa del buon ritorno is a thriller, a
a grisly childhood trauma, brings the movie
horror, a love story … or an analysis session: how-
into a territory akin to Francesco Barilli’s films,
ever, the unpleasant thing is that it seems some-
and the insistence on small unsettling details
thing already seen, and it wishes to remain de-
recalls Pupi Avati’s Gothic works. The core of
liberately obscure.”
the tale revolves around Lola, the dead girl at
A clever distribution gave the film some
the center of three individuals’ obsession: Luca
minor notoriety: the title logo recalled the
&nbs
p; pushed her off a terrace and killed her, Bruno
thread inaugurated by Raimi’s The Evil Dead,
(who witnessed the act) is still in love with her
distributed in Italy as La casa and leading to
memory, and Ayesha keeps a sort of pagan altar
many spurious rip- offs and phony sequels. La
dedicated to her (an element that echoes Truf-
casa del buon ritorno was also screened at
faut’s La chambre verte). Another curious and
Rome’s Fantafestival, and even earned a prize.
intriguing reference is the Hannya mask (a typ-
It was never dubbed in English, nor was it shown
ical mask in Noh theater, representing a female
theatrically in the United States or the U.K.; it
jealous demon) worn by Luca’s persecutor,
allegedly surfaced to home video in West Ger-
which recalls the one seen in Kaneto Shindo’s
many with the title Der Haus der Blauen Schatten
Onibaba (964).
(The House of the Blue Shadows). Nowadays it
But the psychoanalytic burden ends up
is only available in bad quality home video
drowning the film, which is also let down by the
copies, which do not do justice to Cino’s inten-
excessively slow pacing and bad acting. Stefano
tions, however flawed the movie might be. As for
Gabrini, who played the lead and was Cino’s as-
Gabrini, he debuted as director in 99 with Il
sistant on the set and during post- production,
gioco delle ombre, another evocative ghost story
was adamant about his inadequacy: “My turn as
financed via article 28.
an actor had me suffer the schizophrenia of
being on the wrong side of the camera, leading
Notes
me to disown myself and the film as well.”9
1. Giovanna Grassi, “Il regista che viene dalle nuvole,”
Gabrini’s character gradually transforms over
Corriere della Sera, August 4, 986. The main locations
the course of the story, in an overtly didactic ex-
were a couple of 930s villas on the Nomentana road, and
planation of his return to his past: first we see
the rest of the film was shot in and around Rome (at the
Testaccio market, and at the former slaughterhouse, plus
him with a long beard, which he shaves halfway
a rail crossing along the Rome- Civitavecchia motorway).
through the film, keeping his mustache, and in
Thanks to Fabio Melelli and Beppe Cino for these bits of
the final scenes he is hairless as a child.
information.
1986: Dèmoni 2
39
2. Palmerini and Mistretta, Spaghetti Nightmares, 9.
Persiano (Joe—TV show), Robert Chilcott
3. [Ansa agency] “Ciak su terrorismo e pentitismo,”
(Bob—TV show), Eliana Hoppe [Eliana Miglio]
May 23, 98.
(Pam, girl with camera), Yvonne Fraschetti
4. Grassi, “Il regista che viene dalle nuvole.”
5. Palmerini and Mistretta, Spaghetti Nightmares, 9.
(Jacob’s Girl), Bruno Bilotta (Jacob), Furio Bilotta
6. Ibid.
(Man in the back of Jacob’s car), Giovanna Pini
7. David Punter, The Literature of Terror. Volume 1: The
(Girl in the back of Jacob’s car/Woman in garage),
Gothic Tradition (London: Routledge, [996] 204), 38.
Stefano Molinari (Demon on TV), Pasquale Va-
8. Palmerini and Mistretta, Spaghetti Nightmares, 6.
9. Mario Bucci, “Buongiorno, Stefano Gabrini,” www.
lente (Tommy’s Father), Kim Rhone (Tommy’s
effettonotteonline. com. (http://www. effettonot teon line.
Mother), Annalie Harrison (Sally’s Mother); un-
com/ enol/archivi/articoli/interviste/ 200703/2007 03in00.
credited: Lamberto Bava (Sally’s Father). PROD:
html)
Dario Argento for DAC Film (Rome); PM: Guido
10. l.t. [Lietta Tornabuoni], “Una sola vita non basta,
De Laurentiis; EP: Ferdinando Caputo; PS: An-
meglio due o tre,” La Stampa, September 2, 986.
11. M.Po. [Maurizio Porro], “Una “casa”-trappola per
tonio Saragò, Fabrizio Diaz; PSe: Paola Rossi, Egle
Amanda,” Corriere della Sera, September 2, 986.
Friggeri, Andrea Caputo; ADM: Renato Rinaldo;
PrA: Enrico Lucherini, Gianluca Pignatelli. Coun-
Dèmoni 2 … l’incubo ritorna (Demons 2)
try: Italy. Filmed on location in Hamburg and at
D: Lamberto Bava. S and SC: Dario Argento,
De Paolis In.Ci.R. Studios (Rome). Running time:
Lamberto Bava, Franco Ferrini, Dardano Sacchetti
92 minutes (m. 248). Visa n. 88 (0..986);
[and Sergio Stivaletti, uncredited]; DOP: Gian-
Rating: V.M.4. Release dates: 0.9.986 (Italy),
lorenzo Battaglia (Eastmancolor Kodak, LV-
2.3.987 (U.S.A), 3.2.987 (France), 7.9.987
Luciano Vittori); M: Simon Boswell; E: Piero
(West Germany), 9.8.987 (UK), .2.988
Bozza; SupE: Franco Fraticelli; PD: Davide Bassan;
(Spain); Distribution: Titanus (Italy); Artists En-
CO: Nicola Trussardi; SPFX: Sergio Stivaletti,
tertainment Group; Imperial Entertainment
Rosario Prestopino; AsstSPFX: Barbara Morosetti;
(USA). Domestic gross: ,0,944,000 lire. Also
SE: Antonio Corridori, Giovanni Corridori; MU:
known as: Dance of the Demons 2/Dämonen
Rosario Prestopino, Giacinto Bretti; AD: Roberto
(West Germany).
Palmerini; 2ndAD: Fabrizio Bava; AE: Alessandro
A series of events take place in a high- rise in
Gabriele, Fabrizio Fraticelli; C: Guido Tosi;
an unnamed city. During her birthday party, Sally
AC: Stefano Falivene, Federico Martucci; SD: Va-
locks herself into the room to watch a horror
leria Paoloni; SO: Raffaele De Luca; SOE: Studio
movie about a group of young people who find a
Anzellotti; Mix: Romano Pampaloni; B: Angelo
tomb; in the film, the teenagers awaken a demon,
Amatulli; Sound consultant: Federico Savina; ChEl:
and the monstrous being then turns toward Sally,
Domenico Caiuli; KG: Franco Micheli; G: Paolo
comes out of the TV and attacks her. Sally turns
Tiberti; PrM: Maurizio Jacopelli; SP: Franco Bel-
into a demon under her friends’ terrified eyes;
lomo; Stunts: Claudio Pacifico; SS: Francesca
she attacks the partygoers who turn into other
Ghiotto; DubD: Sergio Graziani. Cast: David
demons. Because of the corrosive blood that comes
Knight (George), Nancy Brilli (Hannah), Coralina
out of Sally’s body, a blackout ensues, and all the
Cataldi Tassoni (Sally Day), Bobby Rhodes
tenants remain locked in the building. Among
(Hank), Asia Argento (Ingrid Haller), Virginia
them are George and his pregnant wife Hannah,
Bryant (Mary, the prostitute), Anita Bartolucci
gym instructor Hank, a little kid named Tommy
(Woman with dog), Antonio Cantafora (Ingrid’s
who is home alone, and a teenage girl, Ingrid.
father), Luisa Passega (Helga Haller), Dav
ide
Soon the demons invade the building, and the few
Marotta (Demon Tommy), Marco Vivio
survivors must fight for their life…
(Tommy), Michele Mirabella (Prostitute’s client),
The box- office success of Dèmoni was a clear
Lorenzo Gioielli (Jake), Lino Salemme (Security
sign that the Italian public was experiencing a re-
guard), Maria Chiara Sasso (Ulla), Dario Casalini
newed interest in horror cinema. More precisely,
(Danny), Andrea Garinei (Partygoer waiting for
teenagers were developing a strong appetite for
Jacob), Luca De Nardo (Partygoer), Angela Fron-
the genre thanks to the expanding home video
daroli (Susan, bodybuilder), Caroline Christina
market. Besides the popular foreign titles, Dario
Lund (Jennifer, bodybuilder), Karen Gennaro
Argento and Lucio Fulci films—albeit often re-
(Bodybuilder), Marina Loi (Kate), Silvia Rosa
leased in pan- and-scan or even cut versions—
(Partygoer), Monica Umena (Partygoer), Lorenzo
were among the more frequently rented titles.
Flaherty (Partygoer), Fabio Poggiali (Muller,
Argento didn’t waste time, and he and his col-
bodybuilder), Andrea Spera (Partygoer). Pascal
laborators immediately set to work on a sequel.
40 1986: Dèmoni 2
Shooting for Dèmoni 2 started on May 9, 986,
training in the gym. By having their monsters
seven months after the release of the first chap-
spread the contagion via TV screens, Argento
ter.
and Bava unwillingly give their film a metaphoric
This time the budget was sensibly higher,
significance which is much closer to Italian his-
and the script took several months to perfect.
tory: in September 974, a small cable- TV, Telemi-
According to Bava, Sergio Stivaletti took part in
lano, started broadcasting in the residential neigh-
some scriptwriting sessions2 in order to better
borhood of Milano 2, in Milan. In 978, it was
conceive the horrific moments and study the
purchased by Silvio Berlusconi and became the
special creatures and effects in advance. Once
founding stone of the mogul’s TV empire, under
again, the setting was a secluded one, a high- rise
the name Canale . It would change Italian history
where the infection spreads—an idea which
and culture forever.
brings the movie closer to David Cronenberg’s
As with the first chapter, the demons make
Shivers (and to the latter’s uncredited inspiration,
Italian Gothic Horror Films (1980-1989) Page 42