Posts Tagged mario bava

A Hatchet for Fantomas

HATCHET FOR THE HONEYMOON

Guest writer Carol Borden delves into the psyche of Mario Bava’s bizarre supernatural giallo about a man who is haunted by the ghost of the wife he murdered. The problem, however, is that everyone but him can see her. Well, that’s one problem. Hatchet for the Honeymoon is not the kind of film to watch for a kill count or ingenuous murders. It is the kind of film to watch for paranormal and sartorial phenomena, ghosts, discotheques, mysterious deaths, horrifying old toys, and the narration of a “paranoiac.”

FANTOMAS

A reprint from Teleport City, reformatted and edited and presented as a bonus round in Mezzanotte’s Il Fait PEUR! series. Teleport City/Mezzanotte regular Todd Stadtman takes a look at the swinging James Bondified update of Fantomas.


Keith Allison is the chief bacchanologist at MEZZANOTTE.

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Blood & Black Lace

Revised and revived on Mezzanotte for the two-month long giallo spotlight:

BLOOD & BLACK LACE

When it came time for Mario Bava to turn in his version of a Hitchcock movie, he picked up on that underlying current of malicious giddiness and ratcheted it up. In Blood and Black Lace, Bava is a peasant let loose to demolish a nobleman’s home during the Russian Revolution. There is unbridled celebration in the carnage, but there’s also unsettling tragedy. Bava employs a subtle absurdity, taking delight not just in demolishing the vacant aristocrats in his cast of characters but also in wreaking havoc with the language of cinema and expectations of what was, then and now, acceptable. Blood and Black Lace gave giallo the element that made it so much different from the early whodunits from which it evolved: the snarl.


Keith Allison is the chief bacchanologist at MEZZANOTTE.

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Out with the Old

There’s a new wind blowing, and it smells exactly like the stale old wind. As Teleport City counts down to its 20th anniversary (good gravy, Charlie Brown), it’s become a little burdensome and full of writing I did in my 20s and am not entirely excited about. So in the service of staying in the game as Teleport City shifts into archival mode (it will remain online), a new site is being launched that will take its place and do mostly the same thing, though with a little more structure. The site, called MEZZANOTTE, is based around themes that run for two months (all of which will be compiled into an ebook/print book at the end of the year). For our inaugural theme, which officially launches in February, we’re tackling giallo movies and soundtracks.

The new site doesn’t officially launch until Feb. 1, but you can get a sneak peek now, since the B-Masters has been Teleport City’s home since that fateful day a madman named Dr. Freex said to the council, “What about Teleport City?” And where better to start an exploration of giallo than with the film most often referred to as “the first”?

THE GIRL WHO KNEW TOO MUCH (1963)

Judging Mario Bava’s The Girl Who Knew Too Much from its first scene, it would be reasonable to assume one was watching a Fellini movie, or at least a reasonable imitation of Fellini. The opening shot of a TWA plane in flight toward Rome, the bustling capital of high style, suggests the dawn of the age of the jet set, as does the introduction of the film’s main character, stylish but somewhat naive American Nora Davis (Leticia Román, in Russ Meyer’s version of Fanny Hill as well as the Elvis film G.I. Blues) who is being pestered by her Lothario seat-mate (while she is trying to read a giallo novel, no less).

You can read the soundtrack reviews here.


Keith Allison is the chief bacchanologist at MEZZANOTTE.

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