MARIO
BAVA: MAESTRO OF THE MACABREImage Entertainment
MARIO
BAVA: MAESTRO OF THE MACABREPictures are worth a thousand words, 'tis said, and probably no filmmaker knew that better than Italy's own Mario Bava. Image Entertainment has released for all lovers of spaghetti sadism a most delectable and tasty treat just in time for Halloween and for many, the years to come. Bava's legacy has been celebrated in the United States for the last decade in sporadic festivals around the country and its fruit bears spawn here.
A number of luminaries have given their time to this loving tribute, though none more deserving than the Maestro's chronicler, Tim Lucas. Though viewed onscreen very sparingly, his efforts to champion Bava are without peer.
The tender and indeed comedic side of Mario Bava the man is abundantly evident in still photographs shown throughout this documentary. Never a misanthropic moment in his life, one can only speculate how this man could have crafted such infernal horrors that sometimes triumphed over the forces of light.
His son, Lamberto speaks of the fact his father was a very good sketch artist and a mischievous trickster. Alan Bryce recounts that Bava went off to film school and was a notable cameraman for the likes of G. W. Pabst, Raoul Walsh and Roberto Rossellini. Star of DANGER: DIABOLIK (1968), John Philip Law and John Saxon, star of GIRL WHO KNEW TOO MUCH (aka THE EVIL EYE, 1962) add their comments, which attest to Bava's greatness. Carlo Rambaldi describes Bava as always cheerful like his father and speaks of his complete mastery of special effects. Alfredo Leone relates the story of how the perfect castle was found for shooting BARON BLOOD (1972), the one time Bava left Italy for another country (Austria) to work. Joe Dante praises his cinematography and speaks about BLACK SUNDAY as his introduction to the director. Georgia Bava, his granddaughter, says one of her grandfather's dreams was to come to America, something that never happened. Tim Burton speaks of "film as dream" and in fact, clips from SLEEPY HOLLOW (2000) are testimony to Burton's admiration to Bava. John Carpenter speaks of the dreamlike nature of all his films. The late Sam Arkoff reminisces about Bava, comparing him to Hitchcock. Roy Bava, grandson and himself a director relates a funny tale in which Mario placed a sculpted marble foot in his bed to frighten his mother. This nonstop lovefest is abbreviated with magnificent never-before-seen stills and behind scenes shots that are positively jaw-dropping.
One minor criticism in this reviewer's opinion was the fact that no clips were shown from ERIK THE CONQUEROR (1961), Bava's best foray into Viking saga or from his dazzlingly beautiful peplum HERCULES IN THE HAUNTED WORLD (1961). Perhaps their exclusion was a problem of clip clearance and not oversight by the producers. Though Bava's attempts in the Western genre were spoken of (and a photograph or two was shown), a clip from any of them might have been most welcome.
The addition of a Cameron Mitchell interview would have kicked things up a notch as no other actor worked for Bava more, and the tremendous friendship and warmth both men had for each other was certainly worthy of inclusion. And as BLACK SUNDAY was an epiphany for the career of Barbara Steele, a few insightful words from her might have been in order. Certainly Christopher Lee's kind remembrances would have been welcome as he was the villainous Lyco in HERCULES IN THE HAUNTED WORLD and the Byronic sadist of WHIP AND THE BODY.
BLACK SUNDAY is best represented of all the Maestro's work; however one should bear in mind that Bava's mastery was evident in his numerous efforts over the years. Perhaps a bit more of THREE FACES OF FEAR (aka BLACK SABBATH, 1963) would have been good for balance as this was Bava's personal favorite of all his films and his minor masterpiece from 1966, OPERAZIONE: PAURA (KILL, BABY . . . KILL!) is not discussed at all. THE WHIP AND THE BODY (1963) was a superior erotic ghost story, lovingly presented in near-neon colors is likewise not noted.
Again, though, these are minor points in a near-perfect documentary.
There was never a greater director. There was never a greater showman. Somewhere out there, Mr. Bava, you are laughing at us all! (Christopher Dietrich)