Bloody Italians
By Davide Della Nina (alias PagniMauri) with introductions by Rhonda Baughman
Visit http://www.davinotti.com/index.php?f=17318
Ahhh ... the Facebook exchange. Quite possibly the only place where a beautiful Italian man will find me, waiting, to publish his carefully cultivated materials ... Davide didn’t say ‘thank you’ – he said ‘I embrace you’. While I could not return the favor literally, I can figuratively – here on MicroShock. Sigh ... goddamn I wish I spoke Italian ... Enjoy! XO - RKB
INTRODUCTION AND INTERVIEWS
Documentary “Blu Bar”
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The documentary Blu Bar, winning of the first prize in the Turin Horror Festival 2002, is a realized documentary interviewing the protagonists and the troupe of Deep Red (Profondo Rosso 1975) and going to find again the locations of the film. I saw for the first time Profondo Rosso in television in 1986 and I immediately remained of it spellbound. The thought obsessively applied you, as the childish dirge that the assassin listens before committing the homicides. I have known Alessandro Benna in the regal ones of the most important television deprived of Turin, where we worked by now from years as free. |
| ALESSANDRO BENNA |
Toward the end of 2001 I proposed to Alessandro to realize a documentary that would have had to have as subject the most famous film of Dario Argento. You showed from immediately party to the project despite the two principal problems: the times and the costs! However we decided that just finished the winter we would have been able to try.
Surely the more binding enterprise was that to succeed in getting all the permissions to be able to visit the inside locations.
17/MAY/2002, near the theater Carignano in Turin, officially began the resumptions. The angle cafe is practically identical, so much that entering the foyer expected me to meet me with the man (in the film) that it immediately smokes a cigarette before the two red curtains of the stage. After having worked to all the principal locations in Turin departed for Rome where they waited us for four days of I work Fatiguing! (6 interviews - 4 locations - The store and museum of Luigi Cozzi - Germano Natali laboratory SFX). We finally made visit to the Civic Cemetery of Perugia in which the sequences of the burial of the sensorial one were turned. |
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DAVIDE DELLA NINA AND ALESSANDRO BENNA BEFORE THE REAL WINDOW OF THE APARTMENT ( HELGA ULLMAN) |
Here following an extract of some contained interviews in “Blu Bar”:
04/MAY/2002 - 12:00 am - Calandra house, Rome
It interviews to GIULIANA CALANDRA
“Mah… me… I had not in short a death really of the most beautiful! What I don't wish anybody: practically boiled inside the water of a bathtub! For the one who doesn't know the makeups of the cinema, clearly, I was not really in the warm water as she is seen in the film; there am the vapors but the water it was cold. Until all of a sudden me I have swallowed water and I felt me to suffocate, you didn't succeed really anymore then to throw on the head because the hand of Dario Argento… anything else other than that of the assassin! …”
04/MAY/2002 - 04:00 pm - Laboratory SFX, Rome
It interviews to GERMANO NATALI
“To work with Dario Argento is a true pleasure, also because it is one of the few directors that he exactly knows what wants. It often confided me that what he succeeds in realizing and to bring on film is not anything else other than a whole series of fears, of nightmares that he has during the night: he falls in a whole series of strange things and it practically puts on film that that “it feels”. I remind Me that there was a problem... he wanted a stain of blood on the floor and the cosmetician it did a whole series of tests and him every time: “no… no… it is not beautiful… it is not what I want me!” I had brought a jar of varnish for automobiles that it was advanced from a painting of a red fuego Spider of the Legal Roids and I have told him: 'Dario, I have there a thing in car, if want I do it see' and in the exact moment that the varnish has given for earth he has become euphoric: “Is not possible! Be true! Yes, is what wanted!”: was the puddle of blood in which he reflects Marc in the titles of end film!
For the homicide of Glauco Mauri (Professor Giordani) have used a true piglet, logically dead, of those tiny... have put him a collar of shirt and have pierced him with the knife… a thing… blood-curdling enough!
The table has the plan everything of rubberizes… is thirty years that is there!
For Gabriele Lavia (Carlo) I had prepared all the points in which it went to beat.
Because being hooked (the dollies he/she was not seen because it was low), when the truck turned it did it beat against the sidewalks. The material with which I had dressed again the sidewalks is the same used for the table …”
06/MAY/2002 - 04:30 pm - Argento house, Rome
It interviews to DARIO ARGENTO
“Ideas are as pebbles that go to a river in run, therefore these stones are transported and at times they stop him; suddenly the tide leaves again and the pebbles restart to race. And so this idea stopped him the idea of a sensorial that felt an assassin pass and it realized some thoughts of this assassin, that he had just completed a crime. This is the idea from which the film has departed. Then from there however idea hindered him for a long period and suddenly she has widened later as all the histories, the novels as all the films,: they are born for a series of ideas that they accumulate one to the other, also separately and then they find some inside features.
There was a certain trip that I did in Turin when I was adolescent together with my father: I had never been in Turin, he went us for job and it brought me. It was in winter, it rained, and it was a city all shiny, an image perhaps almost conventional: with these yellow lights, these important plazas, these monuments, the houses art decò, the villas... a whole series of things that they fascinated a lot me.
I don't know why they made me come some strange thoughts, morbid, also a disturbing, on this city…”
07/MAY/2002 - 09:30 am - Profondo Rosso Store, Rome
It interviews to LUIGI COZZI
“When I knew him Dario was completing “The Cat o’ Nine Tails” (Il gatto a nove code 1971)and he invited me to write together with him her following film of which it already had the title (it was “Four flies of grey velvet” Quattro mosche di velluto grigio 1971) and of which had also an idea. The idea that Dario proposed me and that he/she wanted that I developed together with him it was practically this: there is a session psychic, during a conference of medium organized in a great theater, during which a medium, to give a demonstration, assembles him on the public in the room and it realizes that in one of these spectators there is a homicidal mind; an assassin is present in the room.
As you will already have understood, in reality it dealt with the idea of departure of the film that he would have realized later “Deep Red”.
Dario already had in mind that idea, in fact, to the time of her third film in 1970. We worked for a long time on the problem and it it was that we didn't succeed in finding a rational explanation; Dario was in a period in which it absolutely realized yellow film, where
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that is everything had to have explained and comprehensible and we didn't succeed in explaining as it made the medium, not knowing the assassin to gain the thoughts of this murderer. Dario wanted that there pits a rational explanation and us, that we worked as on this idea (more than six or eight months), we never succeeded in finding a reasonable explanation. At the end we wrote the whole history, always departing from this explanation. To this point Dario to the sudden definite that he didn't like anymore. We eliminated her and he would have been the beginning of the following her thriller: “Deep Red”…” 07/MAY/2002 - 11:30 am - Museum of the horrors, Rome |
| THE AXE IN THE FILM |
It interviews to CLAUDIO SIMONETTI “Ehh… the sonorous column of Deep Red has a history a particular, because we was from a little returned from England… we have been for about one year in England to make test-tubes, to play, to make concerts… we were this group the name it was not “Goblin” but “Oliver” yet; we also had an American singer that lived in London. We made not a type of music very distant from that that wethen have done with “Deep Red”. Then we have returned in Italy and we have entered room of recording to record an album of the Olivers… Really at that time, and fortunately, we made this disk with the Cinevox Records (Bixio), that was also the publisher of almost all the films of Dario Argento. |
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ORIGINAL AXE BUILT FROM FOR THE FILM |
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Dario told Bixio that wanted for the film a group rock that the music could perform, to do her in a certain way and to give a style to the very particular film… then Carlo Bixio made to listen to Argento the whole material that we were creating with the Olivers in study and Dario it said: 'I like a lot that that these boys do and I would like to know them…”
- "Blu Bar" 2002 /Deep Red film - 45' minutes - |
| DESK IN THE FILM |
2002 - Turin |
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DESK / ORIGINAL TABLE BUILT FROM FOR THE FILM |
We have visited the location of the film Deep Red:
THE SCHOOL
THE PLAZA (BLUE BAR)
THE WINDOW (MACHA MERIL HOUSE)
THE CEMETERY
THE MUSEUM
THE MANSION(VILLA SCOTT)
REHEARSAL(JAZZ BAND)
GALLERY
THEATER
STUDIOS (EX DE PAOLIS)
and THE LABORATORY SFX (GERMANO NATALI)
PROFONDO ROSSO store
(Museum of the horrors of Dario Argento)
