Blood and Black Lace
Blood and Black Lace | |
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Original title | 6 donne per l'assassino |
Directed by | Mario Bava |
Produced by |
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Starring |
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Cinematography | Ubaldo Terzano |
Edited by | Mario Serandrei |
Music by | Carlo Rustichelli |
Production companies |
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Distributed by |
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Release dates |
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Running time | 88 minutes[2] |
Countries |
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Budget | ITL141.755 million |
Box office | ITL137 million (Italy) |
Blood and Black Lace (Italian: Sei donne per l'assassino, lit. 'Six Women for the Murderer') is a 1964 giallo film directed by Mario Bava and starring Eva Bartok and Cameron Mitchell. The story concerns the brutal murders of a Roman fashion house's models, committed by a masked killer in a desperate attempt to obtain a scandal-revealing diary.
The film began development shortly after Bava had ended his long-time association with Galatea Film, for whom he had made most of his earlier works as a cinematographer and director. Made with a budget that was lower than several of the director's prior horror films, Blood and Black Lace was an Italian, French and West German
Film critics and historians such as
The film premiered in Rome on March 14, 1964, where it was commercially unsuccessful. Contemporary and retrospective reviews primarily praised Bava's direction and its visual style, although some found its plot to be weak and lacking in characterisation. After the successful release of
Plot
Isabella, one of many beautiful models employed at Christian
It is revealed that Isabella kept a diary detailing the staff's personal lives and vices. One of the models, Nicole—who is Scalo's current lover—finds the diary and promises to give it to the police, but her co-worker Peggy steals it during a fashion show. That night, Nicole visits Scalo's store to supply him with cocaine where she is stalked by the murderer, who murders her with a spiked glove. The figure searches her corpse and her purse for the diary, but cannot find it. Marco, a nervous, pill-popping dresser who has unrequited feelings for Peggy, visits her at her apartment offering protection, which she politely refuses. She is then confronted and beaten by the killer, who writes a demand in a notebook for the location of the diary. She says she burned it in her fireplace because it contained details of an abortion she underwent. Enraged, the murderer knocks her unconscious. The assailant then carries her away just as Silvestri arrives, takes her to another location, ties her to a chair, and continues the interrogation. Peggy pulls off the mask and is shocked to recognize her assailant, who burns her to death using a furnace.
Silvestri surmises that the murderer is a
Morlacchi and Cristina later discuss their murder spree: he killed Isabella, Nicole and Peggy, and Cristiana murdered Greta to give him an alibi; the hypersexualization of the killings was merely a red herring to disguise their motivations. Isabella had found out that they had earlier murdered Christiana’s husband and tried to blackmail them.
Morlacchi convinces Cristiana that, although the diary has been destroyed, they must commit one more murder to satisfy Silvestri's hypothesis. Later that night, Cristiana kills a fifth model, making the death look like a suicide and leaving the mask, hat and coat strewn around the bathroom to his implicate the model as the murderer. Cristiana prepares to leave the apartment when she is interrupted by a loud knocking on the front door. While attempting to escape she falls from a second-story window.
At the fashion house, Morlacchi excitedly searches through Cristiana's desk for her jewelry. Cristiana enters, now realizing that Morlacchi had been responsible for her fall and that their marriage was merely a means for him to become the heir to her fortune. She kills Morlacchi. After calling Silvestri, Cristiana collapses next to Morlacchi's body.
Cast
- Eva Bartok as Contessa Cristiana Cuomo (Countess Christina Como in the English version)
- Cameron Mitchell as Massimo Morlacchi (Max Morlan)
- Thomas Reiner as Ispettore Silvestri (Inspector Sylvester)
- Arianna Gorini as Nicole
- Mary Arden as Peggy Peyton
- Lea Krugher as Greta
- Claude Dantes as Tao-Li (Tilde)
- Dante DiPaolo as Franco Scalo (Frank Scalo)
- Massimo Righi as Marco
- Franco Ressel as Marchese Riccardo Morelli (Marquis Richard Morell)
- Luciano Pigozzi as Cesare Lazzarini (Caesar Lazar)
- Giuliano Raffaelli as Inspector Zanchin
- Francesca Ungaro as Isabella
- Harriet White Medin as Clarice
- Heidi Stroh as Model
- Enzo Cerusico as Gas Station Attendant
- Nadia Anty as Model
- Goffredo Unger as The Masked Killer (uncredited)[4]
Credits adapted from Mario Bava: All the Colors of the Dark
Background and style
In
Italian film historian and critic Roberto Curti described the plot of Blood and Black Lace as being lifted from the themes of these novels, and adapting elements of the krimi, with a "mysterious villain with sadistic tendencies" who is seen in films like Karl Anton's The Avenger or Franz Josef Gottlieb's The Black Abbot.[10] Bava had explored the elements of suspense and eroticism in the film genre that would become the giallo with The Girl Who Knew Too Much, which involved a woman who witnesses a murder and becomes the target of a serial killer, and the Black Sabbath segment "The Telephone", in which a prostitute is blackmailed while she is undressing for the night.[8][11][12] The term giallo, which means "yellow" in Italian, is derived from Il Giallo Mondadori, a long-running series of mystery and crime novels identifiable by their distinctive uniform yellow covers, and is used in Italy to describe all mystery and thriller fiction. English-language critics use the term to describe more specific films within the genre, involving a murder mystery that revels in the details of the murder rather than the deduction of it or police procedural elements.[2]
Bava's biographer
Production
Development
Prior to directing Blood and Black Lace, Mario Bava had directed several films aimed at foreign markets, including Black Sunday, Erik the Conqueror, The Girl Who Knew Too Much and Black Sabbath.[14][15] These films were produced primarily through Lionello Santi's production company Galatea Film, which suspended their operations by 1964 because of financial hardship. This forced Bava to move from producer to producer for the rest of his career, which left him "not always happy with the results" according to Curti.[16] Bava began work on Blood and Black Lace under the working title of L'atelier della morte (transl. The Fashion House of Death)[2] for Emmepi Cinematografica, a small company founded on November 27, 1962, which had only produced four films, and had made a minor contribution to Black Sabbath; Blood and Black Lace was Emmepi's only film as a majority investor.[16] According to ministerial papers, Bava signed the contract to work on the film on March 16, 1963.[17]
The film had a smaller budget than Bava's previous horror films, estimated at 180 million Italian lire, of which 141.755 million was used in production; by contrast, Black Sabbath had a budget of 205 million lire.[18] Emmepi set up the film as a co-production with France and West Germany, with the respective investment quotas being 50% (Italy), 20% (France), and 30% (West Germany).[16] The French partner was Georges de Beauregard, who would work with productions varying from Jean-Luc Godard's Breathless and Le petit soldat (transl. The Little Soldier) to genre film co-productions like Goliath and the Rebel Slave and The Vampire of Düsseldorf. According to documents at Rome's Archive of State, De Beauregard's largest contribution to the film was the services of his press officer (and future film director) Bertrand Tavernier as an assistant director. Tavernier dismissed this, saying that, "These Italian credits are based on scams. French names were needed for the co-production. I have never been to Italy and haven't met anyone involved in these films."[16] Tavernier concluded his contributions to the film were that he "read a scenario of Mario Bava's Blood and Black Lace and my name is in the credits".[16] The West German partner was Top Film, working under its Monachia Film subsidiary, which was based in Munich and financed only two other films.[16][17]
The synopsis of Blood and Black Lace at the Archive of State in Italy and the script at the Centro Sperimentale di Cinematografia library are credited to Marcello Fondato and Giuseppe Barillà. Fondato had previously worked on several comedies before Blood and Black Lace, and on the script for Black Sabbath. Barillà was a co-editor of the literary magazine Elsinore. Curti suggests that Barillà's contributions to the script were minor.[16] The estimated budget attached to bureaucratic papers submitted to the Ministry at the beginning of production list Fondato and Bava as the authors of the story and credits the script to "Giuseppe Milizia", a name that does not appear in any other documents. In contrast, the opening titles of the film credit Fondato as the author of the story and screenplay, while Barillà and Bava's names are listed following "with the collaboration of".[16][18] Ministerial papers state that Bava was paid 3 million lire as co-scenarist and 7 million for directing, while Fondato and Barillà were paid roughly 1.5 million each for screenwriting.[17]
Lucas has suggested that the 1958 film Mannequin in Red may have influenced Blood and Black Lace because of its use of colour cinematography with diffused lighting filters similar to Bava's style, as well as the film's plot being set in a fashion salon where murders are taking place.[19] Curti contests this notion because Mannequin in Red was never released in Italy, deeming it unlikely that Bava or the screenwriters ever saw it.[20][21]
Pre-production
Blood and Black Lace utilised an international cast. It included Italians (Arianna Gorini, Massimo Righi,
Reiner and Dantes were late additions to the cast, as they took over roles initially intended for Gustavo De Nardo and
A regular actor for Bava, Mitchell had remained in touch with the director since their last project together, Erik the Conqueror.
The crew consisted of many other of Bava's regular collaborators, including
Filming
Lucas stated that filming began in November 1963, while Curti found the schedule began on September 26, 1963.[26][28] Arden recalled she finished her scenes around the time of the assassination of John F. Kennedy.[28] While Lucas said that filming ended in mid-January 1964, the documents found by Curti showed that principal photography finished on October 26, 1963.[26][28] The film was shot in Rome, with the exteriors of the fashion house filmed at Villa Sciarra, interiors shot at Palazzo Brancaccio, and other scenes shot at A.T.C. Studios.[26] Scenes such as the antique shop were shot at a storage facility for film props.[26]
Although the film was a European production, it was filmed with the majority of the cast speaking their lines in English to ensure international marketability.
It took four hours for makeup artist Emilio Trani to apply burned features to Arden for the sequences where she portrayed a corpse; these took five days to shoot. To avoid having the makeup added and removed each day, Arden left it on her face for the latter days of shooting; she recalled that her made-up appearance terrified her mother, who was staying with her in Rome. An accident during the filming of these sequences left Arden with a permanent scar across her nose. In the scene where Greta discovers Peggy's body in the trunk of her car, Bava instructed Lander to wait until the trunk lid was completely open (as indicated by a click in the mechanism) before jumping and recoiling backwards, as the lid used a strong spring that caused it to fall rapidly into place if it was not secured. In her nervousness, Lander failed to open the trunk fully, resulting in the lid's sharp lock hitting Arden in the face, narrowly missing her eye. Arden became hysterical, prompting Bava to stop shooting immediately and calm her down by holding ice to her face while hugging her.[35]
Music
Carlo Rustichelli composed the film's score, as he had for Bava's previous film, The Whip and the Body.[36] Rustichelli recalled his own reaction to the film saying, "There was no doubt, it was something new. I was somewhat shocked by it, partly by its erotic quality."[36] The film's main theme is titled "Atelier" and is reprised throughout the film in various forms. Lucas notes that as the number of characters' deaths grows throughout the film, the orchestration of the score scales down. At Bava's behest, Rustichelli reused several cues he had written and recorded for The Whip and the Body. Rustichelli also reused a cue from the film La bellezza di Ippolita (transl. The Beauty of Hippolyta), which can be heard during the fashion show sequence.[36]
Coinciding with the film's release, the score's publisher, C.A.M., released "Atelier" as a
Release
Blood and Black Lace premiered in Rome on March 14, 1964.[17] During post-production on the film, the title changed from L'atelier della morte to 6 donne per l'assassino.[28][29] Both the on-screen title and ministerial papers list the film as 6 donne per l'assassino, while some promotional materials refer to it as Sei donne per l'assassino (transl. Six Women for the Killer), a title which has since been used in reviews, essays and reference books.[17] Unidis distributed the film in Italy where Curti described it as not being a commercial success. It grossed a little over 137 million Italian lire, making it the 161st highest-grossing film on domestic release in Italy that year; Curti described the gross as not enough to spark any trends within Italian cinema, but enough for Emmepi to recoup its investment.[38] Gloria Film released the film in West Germany on November 27, 1964 as Blutige Seide (transl. Bloody Silk) and Les Films Marbeuf distributed it in France as 6 femmes pour l'assassin, where it was released on December 30, 1964.[2][39]
It was released in the United States under the title Blood and Black Lace
Two separate English dub tracks for the film were created: actor Mel Welles directed the original version in Rome, which featured most of the English-speaking actors, including Mitchell, Bartok and Arden, reprising their on-screen roles; Welles dubbed Reiner and several other actors. Now believed to be lost,[39][41] the Woolners rejected this track for American distribution. They commissioned a second dub track that was produced under the supervision of Lou Moss in Los Angeles. Except for DiPaolo, who looped his own lines for this version,[42] Paul Frees provided most of the male voices for the second dub, including Mitchell and Reiner's.[39][41] Some adult material was toned down in the English version compared to the dialogue of the Italian dub, such as Marco declaring Cesare to be the killer because of his apparent impotence.[41]
Home media
Blood and Black Lace was released on VHS in several countries, including Italy, France, Germany, Japan, and Spain.[43] According to Lucas, all known VHS releases of the film were censored to varying degrees.[43] Early American home media releases include a VHS and Betamax from Media Home Entertainment and a LaserDisc from The Roan Group.[43] Iver Film and Nouveaux Pictures released it on VHS in the United Kingdom.[43] In 1997, the film was set to be released by Quentin Tarantino's Rolling Thunder Pictures, a division of Miramax designed to introduce audiences to the works of low-budget filmmakers he admired.[44][45][46] Rolling Thunder was unable to release the film because of an inability to source usable 35 mm English language elements;[46] in a 1998 interview, Tarantino said that "people over [in Italy] just don't care. We tried to get the rights to Blood and Black Lace [...] and release it in Italian with English subtitles. We couldn't do that. It's not even about money; they don't care."[47] VCI Video released the film twice in the United States on DVD in 2000, and again in 2005 with more bonus features. Both releases feature English and Italian audio tracks with subtitles.[48]
Critical reception
Contemporary
Curti said that Blood and Black Lace was "barely reviewed in newspapers", and that the few critics who did, acknowledged its stylistic qualities.
Outside Europe, A. H. Weiler of The New York Times found the film was a "super-gory whodunit" where characters "are dispatched in varying horrendous styles, leaving nary a lissome lovely around to model those fancy gowns. It's a waste ... but considering the obvious, ponderous plot and their acting, they deserve their bloody fate or the semi-blackout which greeted them."[56] "Whit." of Variety summarized the film as an "okay mystery with a few chills here and there", while noting the visuals are "backgrounded by expensive sets which add a certain quality not always distinguishable in films of this sort". He declared the art direction "is tops" with colour photography to take advantage of it.[57] The review commented on Bava's direction as setting "a grim mood never relinquished" adding the "score by [Rustichelli] maintains this atmosphere".[57]
Retrospective
Thematically, Blood and Black Lace offers the giallo an irresolvable obsession with female violation that's simultaneously cruel and heartfelt. Here, the murders are understood to reflect a debasement that suggests a furthering of the debasement of modelling, a suggestion that's literalized by the killer's placement of the bodies in hideous poses [...] This thematic is complicated further by the identity of the killer, who reflects the fashion industry's self-loathing and self-consumption, driven by a mixture of profound self-interest and neurosis that would be enormously influential to the subgenre at large. In a giallo, a woman's worst enemy is often a woman driven to shirk the chains of status quo that shackle her.
—Chuck Bowen, Slant Magazine[58]
From retrospective reviews, the BBC, AllMovie and Slant Magazine critics praised the film for its visual inventiveness, while noting its violence.[59][60] Almar Haflidason, reviewing the film for the BBC, said that, "Through a prowling camera style and shadow-strewn baroque sets that are illuminated only by single brilliant colours, [Bava] creates a claustrophobic paranoia that seeps into the fabric of the movie and the viewer."[59] Chuck Bowen of Slant Magazine praised the visuals and plot, noting that the film "floods the eye with stimulation, overwhelming our senses so much that the subtle and ingenious plot rushes by in a blur". He added, "The killings in Blood and Black Lace are still disturbing, yet have the vitality of pop art."[60] Patrick Legar of AllMovie praised Bava's "visual eye and use of color, which give the film a highly unique style and look. The brilliant use of primary hues serve as visual foreshadowing throughout the picture and make repeated viewings a fascinating necessity." He noted, "the striking brutality" of the murders. "The killings are highly disturbing in their savagery -- strangling, gouging, drowning, and a torturous scalding among them".[61] In the book The Definitive Guide to Horror Movies, James Marriott described the film as "fascinating and flamboyantly stylish" and found the scenes of eroticized violence disturbing.[62]
Legacy
Curti opined that the film did not enjoy the commercial success necessary to inspire a wave of similar works during its initial release.[69] While some critics such as Lucas have suggested that Bava's use of colour influenced new krimi films to be shot in colour, such as Alfred Vohrer's The Hunchback of Soho,[19] there is no documentation to suggest that the switch can be attributed to Blood and Black Lace.[39][70] Italian thrillers released in the immediate wake of its release were described as either variations on themes found in Alfred Hitchcock's films, such as Assassination in Rome by Silvio Amadio, or murder mystery films such as Romano Ferrara's Crimine a due (transl. Crime for Two).[70]
Among the few works immediately influenced by Blood and Black Lace was the fifth issue of the fumetto nero (black comic) Kriminal, which used the same plot as the film.[69][71] Meanwhile, films labelled as gialli from Italy that were released in the late 1960s, such as Umberto Lenzi's films with Carroll Baker (Orgasmo, So Sweet... So Perverse and A Quiet Place to Kill) and Lucio Fulci's One on Top of the Other, focused on eroticism rather than an emulation of Bava's focus on murder scenes.[70] It was not until the success of Dario Argento's 1970 film The Bird with the Crystal Plumage that the giallo genre started a major trend in Italian cinema.[29][36] Argento's film borrows elements from Blood and Black Lace, particularly its murder scenes.[72] Giallo films released after The Bird with the Crystal Plumage showed a stronger influence from Blood and Black Lace, such as Roberto Bianchi Montero's So Sweet, So Dead, Stelvio Massi's Five Women for the Killer, and Renato Polselli's Delirium.[72]
The scene in the film involving the murder of Tao-Li in a bathtub was later referenced or used in other features. These include the opening scene of Pedro Almodóvar's Matador, where Eusebio Poncela's character is seen masturbating to this scene.[73] It has been imitated in several films, including J. Lee Thompson's Happy Birthday to Me, Argento's Two Evil Eyes, and Martin Scorsese's Kundun.[68]
See also
- Cameron Mitchell filmography
- List of Italian films of 1964
- List of French films of 1964
- List of German films of the 1960s
References
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- ^ a b c d e f g h i Lucas 2013, p. 542.
- UniFrance. Archivedfrom the original on December 24, 2020. Retrieved October 25, 2020.
- ^ Curti 2019, p. 53.
- ^ Credits (booklet). Arrow Films. 2015. p. 1. FCD1077.
- ^ a b c Curti 2019, p. 15.
- ^ "Der Frosch mit der Maske" (in German). Filmportal.de. Archived from the original on December 24, 2020. Retrieved May 11, 2020.
- ^ a b Curti 2019, p. 17.
- ^ Curti 2019, p. 16.
- ^ Curti 2019, p. 19.
- ^ a b Curti 2019, p. 20.
- ^ a b Curti 2019, p. 21.
- ^ Curti 2019, p. 77.
- ^ Curti 2019, p. 9.
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- ^ a b c d e f g h Curti 2019, p. 11.
- ^ a b c d e Curti 2019, p. 14.
- ^ a b c d Curti 2019, p. 12.
- ^ a b Lucas 2013, p. 543.
- ^ Lucas 2013, p. 544.
- ^ Curti 2019, p. 108.
- ^ Lucas 2013, p. 554.
- ^ a b c Lucas 2013, p. 555.
- ^ Lucas 2013, p. 556.
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- ^ a b c d e f g Curti 2019, p. 13.
- ^ Lucas 2013, p. 551.
- ^ a b c d e f g h i j k Lucas 2013, p. 547.
- ^ a b c Lucas 2013, p. 557.
- ^ a b c d Lucas 2013, p. 552.
- ^ Curti 2019, p. 71.
- ^ Curti 2019, p. 72.
- ^ Curti 2019, p. 74.
- ^ Curti 2019, p. 75.
- ^ Lucas 2013, p. 553.
- ^ a b c d e Lucas 2013, p. 558.
- ^ "Mario Bava's "Sei Donne Per L'Assassino" / "Blood And Black Lace" Original Soundtrack - LP". Spikerot Records. Archived from the original on October 25, 2020. Retrieved October 24, 2020.
- ^ a b c Curti 2019, p. 99.
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- ^ "Blood and Black Lace (1964)". AllMovie. Archived from the original on April 22, 2014. Retrieved May 11, 2020.
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- ^ About the Restoration (booklet). Arrow Films. 2015. p. 38. FCD1077.
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- ^ Curti 2019, p. 36.
- ^ a b Curti 2019, p. 67.
- ^ Dyer, Peter John 1966, p. 18.
- ^ Weiler 1965.
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- ^ a b Hafidason 2001.
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- ^ Marriott & Newman 2018, p. 114.
- ^ Maltin 2010, p. 68.
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- bravotv.com. Archived from the originalon July 13, 2006. Retrieved July 5, 2012.
- ^ a b Lucas 2013, p. 566.
- ^ a b Curti 2019, p. 24.
- ^ a b c Curti 2019, p. 101.
- ^ Curti 2019, p. 25.
- ^ a b Curti 2019, p. 103.
- ^ Curti 2019, p. 107.
Sources
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- Croce, Fernando (February 3, 2015). "Arrow Video Announces Second Wave of North American Releases". Dread Central. Archived from the original on February 4, 2015. Retrieved July 12, 2012.
- Curti, Roberto (2019). Devil's Advocates: Blood and Black Lace. Auteur Publishing. ISBN 978-1-911325-93-2.
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- Legare, Patrick. "Blood and Black Lace (1964)". AllMovie. Archived from the original on October 30, 2020. Retrieved September 18, 2020.
- Lucas, Tim (2013). Mario Bava - All the Colors of the Dark. Video Watchdog. ISBN 978-0-9633756-1-2.
- Maltin, Leonard; Green, Spencer; Edelman, Rob (January 2010). Leonard Maltin's Classic Movie Guide. ISBN 978-0-452-29577-3.
- ISBN 9781787391390.
- Dyer, Peter John (February 1966). "Sei Donne Per L'assassino (Blood and Black Lace), Italy/France/W. Germany, 1964". Monthly Film Bulletin. Vol. 33, no. 385. British Film Institute.
- Staten, Vince (February 15, 1997). "Tarantino Goes for the 'Good' in Bad Flicks". The Courier-Journal.
- Timpone, Anthony (September 1998). "To the Dawn and Beyond". Fangoria. No. 176.
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External links
- Blood and Black Lace at AllMovie
- Blood and Black Lace at IMDb
- Blood and Black Lace at Rotten Tomatoes
- Blood and Black Lace at the TCM Movie Database