Archive for Stephen Forsyth

Operazione Paura

Posted in FILM with tags , , , , , , , on November 13, 2019 by dcairns

It occurs to me that Boris Johnson would be good casting for HG Wells’ invisible man, with his unpigmented hair and psychopathic personality and thirst for power, but there he is, on television, horribly visible.

Mario Bava’s KILL, BABY… KILL! was released in Italy as OPERAZIONE PAURA, which loosely translates as PROJECT FEAR, so I should really have written about it in our Project Fear blogathon, and maybe I can catch up with it on Friday 13th December when the general election results come in. Instead, we watched THE WHIP AND THE BODY and HATCHET FOR THE HONEYMOON (really more of a cleaver) but I didn’t get around to saying anything about them.

Bava notoriously made KBK from a script of, I think it was, twenty-five pages. Surely WHIP’s source document must have been ever shorter, given the amount of atmospheric prowling around gloomy corridors the director perpetrates to make up the time. Olivier’s HAMLET has nothing on this. The sadomasochistic relationship at the centre of the story is quite compellingly drawn, though, the photography is luminous, and Chris Lee looks good in that fringe he seemed to acquire for European movies around this time (his No. 2 hairpiece). Too bad he never recorded his own line readings: Lee with someone else’s voice is only half the pleasure.

This is another movie that screwed itself by being too much too soon, like WHO CAN KILL A CHILD? Arguably audiences weren’t ready for such naked sadism in 1963, and censors certainly weren’t, either banning it outright or cutting it until it no longer made even marginal sense.

HATCHET is basically AMERICAN PSYCHO, with similar games played with reality and perception. Stephen Forsyth shows us what that movie would be like with a genuine blank at its centre — a lot less fun to watch. He’s absolutely appropriate but not very entertaining. Bava shot this one himself, but it has neither the Gothic trappings nor the pop-art pizzazz of his finest work.

Interesting, though, for what Bava steals from others — the Hitchcock-Freud recovered memory plot — and from himself — a clip from his own BLACK SABBATH plays on a television.