Italian Gothic Horror Films (1980-1989)

by Roberto Curti

  the transition from a film to the real world, this

  J.G. Ballard’s novel High-Rise). Unlike Dèmoni,

  time through a TV set. The nameless film-

  where tension rose from the forced cohabitation

  within-a-film is not the same as in Dèmoni but

  of various very different characters, here horror

  some sort of a replica, with different actors in

  grows and develops within single familiar units,

  similar roles and set in an abandoned industrial

  hinting at a sociological discourse that is rather

  factory. Bava throws in a reference to his father’s

  disappointingly sketched. An obnoxious teen-

  La maschera del demonio, as the demon’s rebirth

  ager is having a birthday party, a pregnant

  is caused by blood from a wound dripping over

  woman is left alone by her partner, a kid is home

  its face, as in the sequence of Asa’s resurrection

  alone, a family is watching television, a prostitute

  in the earlier film. Then, while Sally (Coralina

  is meeting a client, a group of bodybuilders are

  Cataldi Tassoni) is watching the movie, a demon

  slowly advances to a close- up until it pushes

  the screen from behind and comes out of it.

  Bava renders effectively the transition by way

  of alternate point- of-view shots of Sally

  watching TV and a subjective shot of the

  demon from inside the television set, advanc-

  ing toward her, an alternance which recalls

  La maschera del demonio’s celebrated open-

  ing. The effect looks very much like Rick

  Baker’s famous “animated” television screen

  in Videodrome, but Bava maintained that he

  hadn’t seen the movie3; he was very proud of

  the craftsman- like quality of the effect itself,

  worthy of his father. “Stivaletti and I had even

  thought of putting a TV set inside a bathtub

  with someone inside it … then one night—

  because these ideas come at night—I came

  up with a Mario Bava–like trick: an empty

  TV set, a latex screen, a previously shot scene

  projected on it, and behind the screen some-

  body who, when the demon arrives in close-

  up, pushes it and comes out. That’s my

  father’s basic concept: the simpler the trick,

  the more effective the illusion.”4 The effect

  worked so well that what we see in the film

  is the first take. It was so good that Bava

  didn’t have to shoot a second one.

  As with the first episode, Argento didn’t

  interfere in the shooting. “Dario, like few

  Italian locandina for Dèmoni 2 ... l’incubo ritorna

  people, is one of those who persuades you to

  (1986, Lamberto Bava).

  give your best … and I must say that at the

  1986: Dèmoni 2

  4

  same time he fully respected my role as the di-

  from the first film—Bobby Rhodes and Lino

  rector,” Bava pointed out. “He showed up every

  Salemme—turn up in different roles, and Rhodes

  once in a while, as were shooting, and watched

  (as a gym owner) once again plays the strong and

  the material like every producer does, but he

  charismatic leader of the survivors, while new

  never came over and said, ‘Do this, do that.’”

  cast members include Marina Loi (Zombi 3) and

  The director claimed that he liked Dèmoni

  Michele Mirabella (Tutti defunti … tranne i morti,

  2 even more than its predecessor, possibly also

  L’aldilà). Argento’s daughter Asia turns up in a

  as a reaction to the critics, who were quite severe

  small role in her second film after the made- for-

  with the film. The makers stick to the repetition

  TV Sogni e bisogni (98, Sergio Citti), and An-

  of a winning formula, and the script and direc-

  tonio Cantafora (Baron Blood) plays her father.

  tion go a long way to try and recreate the things

  Unlike the first film, this time Argento and

  that worked in the previous chapter, such as the

  Bava consciously toned down the gore to get a

  shot of the demons advancing in slow- motion,

  V.M.4 rating, not least because they were aware

  their eyes glowing in the dark; but this time

  that a conspicuous part of the profits would

  the plethora of ideas borrowed from other films

  come from television sales. Rather than to

  become more tiresome, devoid of the wild bold-

  blood, they often resort to colored pus and slime

  ness displayed by Dèmoni. For instance, the sub-

  (even corrosive, as in Alien), which gives the re-

  plot about four types driving around town on

  sult a certain comic- book quality; even the light-

  their way to the birthday party is superfluous,

  ing, with much of the movie taking place in par-

  and the use of pop and rock songs in the sound-

  tial darkness, was conceived in order not to

  track—The Cult, Peter Murphy, Gene Loves

  show too much blood. Nevertheless, box- office

  Jezebel, Dead Can Dance—is debatable: The

  grosses were slightly inferior to the original, with

  Smiths’ “Panic” commenting a scene of people

  little over . billion lire. Like its predecessor, it

  panicking is close to self- parody.

  was sold abroad and show theatrically in the

  Even the direction leaves something to be

  major European countries (this time the BBFC

  desired. Besides some inexplicable out- of-focus

  passed it uncut) and overseas.

  scenes possibly shot by a second unit, the camera

  Dèmoni 2 was released theatrically less than

  over- relies on close- ups of the drooling demons

  a month after the debut of a new horror comic

  making faces and growling at the camera. With

  book, created by writer Tiziano Sclavi and cen-

  too many characters and too much buildup, the

  tered on a self- styled “detective of the paranor-

  movie fails to reach the tension it aims for, and

  mal.” The first issue of Dylan Dog, “L’alba dei

  the most effective bits are isolated sight gags

  morti viventi,” came out in September 986 and

  which are conceived and shot like showpieces in

  was a smash it. Dylan Dog comics were charac-

  themselves, a bit in the way Argento does with his

  terized by a postmodernist approach, for each

  murder scenes. See, for instance, the opening se-

  story was filled to the brim with references and

  quence, where a menacingly- looking butcher’s

  homages to (mostly) horror films and literature,

  knife and a suspicious blood- red liquid turn out

  and the mixture of splatter, humor, romanticism

  to be the tools of a pastry chef, and the birthday

  and philosophical antics proved to be irresistible.

  cake scene with Tassoni transforming after blow-

  Within two years of its debut, sales sky- rocketed,

  ing on the candles. But the supposed centerpiece,

  with peaks of over 00,000 sales, and over the

  with the p
regnant Hannah (Nancy Brilli) pursued

  course of a few years it even outsold the classic

  in her apartment by a grotesque- looking winged

  Western comic Tex.

  demon (which Bava and Stivaletti baptized

  Significantly, Bava’s original idea for the

  “Menelik”6) erupted from a demonic child’s chest,

  third part of the series was to shift the source of

  in a blatant rendition of the Amelia episode in

  the contagion to paper. “It had to be a triptych:

  Dan Curtis’ Trilogy of Terror (97), with the

  demons in movies, in television and on the

  demon standing in for the Zuni doll, is let down

  printed page,”7 namely a book whose pages,

  by Stivaletti’s unconvincing creature effects. The

  soaked with human blood, would give birth to

  scene perhaps had an antecedent in Bava’s un-

  the demons. But things took quite a different di-

  filmed project Gnomi, which he had scripted in

  rection, and not by chance television had a big

  the early 980s with Roberto Gandus and Alessan-

  part in reshaping events. This time, however, no

  dro Parenzo (see entry for Macabro).

  demons came out of a TV set, but rather a di-

  The acting is worse too, with David Knight

  rector—Bava himself—was sucked into it.

  making for a very unimpressive hero. Two actors

  42 1987: La croce Notes

  5. Ibid.

  6. Menelik was an infamous name for Italians. Menelik

  1. According to Rome’s Public Cinematographic Reg-

  had been the first emperor of Ethiopia, and Menelik II (em-

  ister. Alan Jones reports May 26 (Alan Jones, Dario

  peror of Ethiopia between 889 and 93) had declared war

  Argento. The Man, the Myths & the Magic [Surrey: FAB

  against Italy in late 800, which led to the Italian army

  Press, (2004/202) 206], ).

  being defeated in the infamous battle of Adua, on March

  2. Morsiani, “Conversazione con Lamberto Bava,” 2.

  , 896.

  3. Ibid., 7.

  7. Gomarasca, “Intervista a Lamberto Bava.”

  4. Gomarasca, “Intervista a Lamberto Bava,” 4.

  1987

  La croce dalle 7 pietre (Cross of the Seven

  at the station was not Carmela, but her friend

  Jewels)

  Elena. At a disco, Marco meets a girl called Maria,

  D: Marco Antonio Andolfi. S and SC:

  who falls for him. He goes to a fence, Totonno O’

  Marco Antonio Andolfi; DOP: Carlo Poletti; M:

  Cafone, in the hope of retrieving his cross, but

  Paolo Rustichelli (Ed. C.A.M.); E: Marco Anto-

  finds out that the jewel has already been pur-

  nio Andolfi; PD, SD: Massimo Corevi; SE: Eddy

  chased by a Camorra boss, Don Raffaele Esposito.

  Endolf [Marco Antonio Andolfi]; C: Renato

  While Marco is questioning Totonno, midnight

  Doria; AC: Lucio Granelli, Andrea Doria; SS:

  strikes: the young man undergoes a horrific trans-

  Marisa Agostini; MU: Lamberto Marini, Angelo

  formation, turning into a werewolf, and kills the

  Mattei, Alfonso Cioffi; Hair: Claudia Bianchi;

  fence. It turns out Marco is the offspring of a

  CO: Gilian; W: Liana Dentini, Anna Cirilli; PM:

  member of a devilish cult impregnated by the

  Amato Gabotti; G: Gualberto Franceschini,

  demon Aborym, and that he is destined to turn

  Michele Fedele; El: Aldo Mercenaro, Francesco

  into a werewolf every night at midnight; the cross

  Piccardi. Cast: Eddy Endolf [Marco Antonio

  is a talisman given to him by his mother, which

  Andolfi] (Marco Sartori), Annie Belle [Annie

  can stop the transformation. Desperate, Marco

  Brillard] (Maria), Gordon Mitchell (Black Mass

  continues his search and comes upon the presence

  Leader), Paolo Fiorino, Giorgio Ardisson (The

  of Don Raffaele Esposito, but the boss mistakenly

  Sicilian), Zaira Zoccheddu (Armisia, the Clair-

  believes him to be an undercover agent, investi-

  voyant), Glauco Simonini, Giulio Massimini

  gating the Camorra traffics, and takes him pris-

  (Minister), Stefano Muré, Irmgard Konnertz,

  oner. At midnight, the transformation takes place

  Marco Merlo, Giò Batta Merlo, Cristoforo Vet-

  and Marco slaughters Don Raffaele and his men.

  then, Gino Lodero, Franco Altobelli, Mario Do-

  He and Maria find out that the cross is in posses-

  natone, Piero Vivaldi (Totonno ‘O Cafone), Um-

  sion of a fortune teller, Armisia, who is also a

  berto De Luca, Gino Serra, Antonietta Rinaldi.

  prostitute: he turns into a monster again during

  PROD: Compagnia di Prosa “Roma” G.C. Pic-

  intercourse with the woman and kills her. It is up

  tures; PM: Francesco Giorgi; PS: Tiziano Sarno;

  to Maria to save Marco from his curse…

  Country: Italy. Filmed in Rome, Zagarolo (Rome)

  The Neapolitan- born Marco Antonio An-

  and Naples. Running time: 83 minutes (m. 2270);

  dolfi had acting in his blood since the time he

  re- edited version: 86 minutes. Visa n. 866

  was a technician at the Singer sewing machines

  (7.24.986); Rating: V.M.4. Release date: 4.30.987.

  company: on Saturdays and Sundays he moon-

  Distribution: Compagnia Distribuzione Inter-

  lighted as a thesp in a small theatrical company.

  nazionale P.R. Domestic gross: n.a. Also known as:

  After losing his job at Singer, Andolfi decided

  Talisman (99 re- edit).

  to take a leap and become an actor full- time,

  Bank employee Marco Sartori travels from

  and founded the Roman- based Compagnia

  Rome to Naples to meet his cousin Carmela,

  Roma, which then became Compagnia “Artisti

  whom he hasn’t seen in years. Soon after his ar-

  Riuniti.”

  rival some thugs snatch a jeweled cross he carries

  Andolfi’s first steps in the movie industry

  on his neck. Marco and the police trace the thieves

  proved more difficult. He claimed to have been

  but find out they have already sold the jewel. The

  just one step away from playing important roles

  following day Marco discovers that the girl he met

  in well- known films, such as Florestano Vancini’s

  1987: La croce

  43

  Il delitto Matteotti (973), but this never hap-

  a general. Many clashes occurred. Theater is a

  pened, and he languished in obscurity, allegedly

  very harsh environment,” the director recalled.

  writing plays and photonovels for the Lanciostory

  “Then there was the Mafia of film distribution,

  magazine.

  dubbing, extras, and even the Mafia of develop-

  Eventually, Andolfi took the tiger by the

  ment and printing labs. I had to do everything

  tail and mounted his own feature film project.

  by myself, I was present everywhere … there

  The inspiration for the story came from an au-

  were also a few slaps and criminal complaints,

  tobiographical episode.


  it helped me that I had a powerful physique.”4

  Such a dedication to his work is truly re-

  One day I went to Naples wearing a pretty nice, valu-

  able cross… . I was going to meet a girl, my fiancée… .

  markable, but worthy of a better cause. In addi-

  And there was this snatch, which happened in a

  tion to being Italy’s first werewolf movie since

  rather strange way. There were two bikes, you see,

  Lycanthropus (96, Paolo Heusch), La croce

  one passed near me and the passenger snatched the

  dalle 7 pietre has a reputation of being one of

  cross from my neck. I was about to react, but the

  the worst Italian movies ever made. It will take

  young man passed the cross to the passenger of an-

  just a few minutes for the viewer to realize that

  other bike. The second motorcycle fled. I pursued it

  such a title was no exaggeration. In the mind-

  … I managed to reach the bike, hurl it to the ground

  bogglingly inept pre- credit sequence, set in what

  and have those bastards arrested! From this theft the

  looks like a condo’s basement, a cult leader (Gor-

  story of La croce dalle 7 pietre was born. I then soaked

  don Mitchell) officiates some sort of Satanic rit-

  it with other imagery, drawn from my plays, comedies

  ual which consists mostly in several people in

  I wrote or comics.2

  S/M outfits groping or whipping each other

  How Andolfi managed to get a 0 million lire

  (“Your pain is my pleasure!”), and summons the

  financing from the State is still anyone’s guess.

  demon Aborym, who looks like a man with a

  However, La croce dalle 7 pietre benefited from

  papier- mâché gorilla mask and fur like a

  the infamous article 28 of the 96 cinema law

  Komondor dog. The rest of the film fares even

  (see entry for Notturno con grida) which guar-

  worse, with atrocious acting and dialogue, goofy

  anteed State loans for films with cultural or artis-

  direction (with a perhaps unrivalled number of

  tic aspirations. As a true Renaissance man, An-

  passers- by looking at the camera during exterior

  dolfi undertook various tasks to carry his dream

  scenes), amateurish special effects and a plot

  project home. In addition to writing the story

  which to call “demented” would be an under-

  and screenplay, he took care of the direction

  statement.

  himself and played the starring role, hiding