Roberto Curti and Roberto Curti
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9781911325932
- eISBN:
- 9781800342538
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325932.003.0011
- Subject:
- Film, Television and Radio, Film
This chapter concentrates on the 10-page synopsis of “Soggetto cinematografico” and the 156-page script for the film The Atelier of Death (L'atelier della morte), which were both credited to Marcello ...
More
This chapter concentrates on the 10-page synopsis of “Soggetto cinematografico” and the 156-page script for the film The Atelier of Death (L'atelier della morte), which were both credited to Marcello Fondato and Giuseppe Barillà. It points out that the synopsis was printed on October 1, 1963, while the script is not dated and it's uncertain if it is indeed the definitive draft. It also explains how the screenplay is preceded by a list of the main characters with their physical and behavioural traits itemized, which nonetheless will not be developed or even ignored in the film. The chapter illustrates how Mario Bava simply followed the indications in the script for the film Blood and Black Lace (6 donne per l'assassino) without adding anything to the characters. It stresses that the idea of the comparison with mannequins, a leitmotiv that was maintained through the entire Blood and Black Lace, was absent in the script.Less
This chapter concentrates on the 10-page synopsis of “Soggetto cinematografico” and the 156-page script for the film The Atelier of Death (L'atelier della morte), which were both credited to Marcello Fondato and Giuseppe Barillà. It points out that the synopsis was printed on October 1, 1963, while the script is not dated and it's uncertain if it is indeed the definitive draft. It also explains how the screenplay is preceded by a list of the main characters with their physical and behavioural traits itemized, which nonetheless will not be developed or even ignored in the film. The chapter illustrates how Mario Bava simply followed the indications in the script for the film Blood and Black Lace (6 donne per l'assassino) without adding anything to the characters. It stresses that the idea of the comparison with mannequins, a leitmotiv that was maintained through the entire Blood and Black Lace, was absent in the script.
Roberto Curti and Roberto Curti
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9781911325932
- eISBN:
- 9781800342538
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325932.003.0002
- Subject:
- Film, Television and Radio, Film
This chapter recounts Mario Bava's seventh official solo feature film as a director, a present-day thriller set in the world of high fashion titled The Atelier of Death (L'atelier della morte). It ...
More
This chapter recounts Mario Bava's seventh official solo feature film as a director, a present-day thriller set in the world of high fashion titled The Atelier of Death (L'atelier della morte). It also mentions Bava's two other Gothic horror movies released in Italy in the summer of 1963 that were destined primarily for foreign markets, especially in America. It discusses I tre volti della paura starring Boris Karloff and Mark Damon, and La frusta e il corpo with Christopher Lee and Daliah Lavi. The chapter describes Bava's debut film La maschera del demonio in 1960, which distributed overseas by American International Pictures under the title Black Sunday. It points out how the Italian film industry had increasingly been involved in bilateral and multinational co-productions since the first agreement signed with France in 1949.Less
This chapter recounts Mario Bava's seventh official solo feature film as a director, a present-day thriller set in the world of high fashion titled The Atelier of Death (L'atelier della morte). It also mentions Bava's two other Gothic horror movies released in Italy in the summer of 1963 that were destined primarily for foreign markets, especially in America. It discusses I tre volti della paura starring Boris Karloff and Mark Damon, and La frusta e il corpo with Christopher Lee and Daliah Lavi. The chapter describes Bava's debut film La maschera del demonio in 1960, which distributed overseas by American International Pictures under the title Black Sunday. It points out how the Italian film industry had increasingly been involved in bilateral and multinational co-productions since the first agreement signed with France in 1949.
