bare avant- garde experimental oddity. It soon
of Cocteau’s film, from which it also reprises
degenerates into a confused orgy whose partic-
some central ideas, namely the characters cross-
ipants are masked and made up like birds and
ing a mirror which acts like a boundary between
animals. The scene gives a measure of the inner
this world and the afterlife. The one- eyed witch
duality of Cavallone’s cinema, always striving to
and her scarred butler Alphonse recall the
overcome its limits but ultimately unable to
princess played by Maria Casarés and her enig-
fulfill its ambitions, wavering between remark-
matic chauffeur Heurtebise (François Périer),
able visual intuitions and slapdashness.
while Stefano and Diana are modern- day ver-
All this concurs to form a shaky, one- of-a-
sions of Orphée and Eurydice. The seductress
kind concoction that blends atmospheric fan-
(and bisexual) witch literally splits into two to
tastique, elusive symbols, pretentious dialogue,
put the man under her spell, as had happened
bouts of tasteless H.G. Lewis- style gore (con-
in Damiano Damiani’s La strega in amore
centrated in the aftermath of the suicide scene)
(966),6 and Cavallone was likely familiar with
and explicit sex. In a late interview the director
Carlos Fuentes’ novel Aura which had inspired
denied that Blow Job featured any graphic sex
Damiani’s film. Moreover, the dual appearance
scenes except for “one simulated [sic] blow job,”7
of the witch—played by two very different ac-
but this claim was refuted by other participants
tresses—pays homage to Buñuel’s Cet obscur
in the film. A hardcore version was filmed, and
objet du desir (977). The actress playing the
the cast features three uncredited performers
countess, Anna Bruna Cazzato, is characterized
who would work again in Cavallone’s hardcore
as a mature dark lady, and wears a make- up that
films: the Dutch Pauline Teutscher (the girl who
has the left side of her face crossed by a deep
commits suicide) and the Italian Guya Lauri
scar and without an eye—a mutilation she hides
Filzi, plus the Lebanese actor Hassan Jabar. The
behind huge dark glasses and hats that recall
latter two appeared in the orgy scene.
the titular diva in Billy Wilder’s Fedora (978).
Blow Job was first rejected by the rating
It is a yin/yang image of beauty and horror, se-
board on February 23, 980, after Cavallone re-
duction and repulsion that recalls the character
fused to perform the cuts that had been re-
played by Barbara Steele in Amanti d’oltretomba
quested,8 for a total of 3 minutes and 6 seconds.
(96, Mario Caiano). Her butler Alphonse (Va-
In May 980, in appeal, he eventually obliged,
lerio Isidori, in a role devised for Luciano Rossi)
and the movie was given the censorship certifi-
is similarly scarred, all over the right side of his
cate with a V.M. 8 rating, on the condition
face, as if to underline a link between them, a
that the title be accompanied by the subtitle
subterranean complementarity. On the other
Soffio erotico (Erotic Whiff), which the board—
hand, Mirella Venturini’s Sibilla is a young
evidently not too familiar with English lingo—
8 1980: Inferno assumed was “the title’s contextual and faithful
tatoio. Incontro con Alberto Cavallone,” Nocturno Cinema
translation into Italian,” as requested by the im-
#4, September 997, 4.
8. Namely, as reported in the ministerial papers: “) Sex-
plementing regulation to the 962 law on cen-
ual intercourse in the opening scene: the bit in which the
sorship (D.P.R. 2029, ..963). However, the
man’s member is seen and the part in which the woman is
blatantly allusive posters bore the more explicit
astride the man; 2) Lesbian scene on the sofa: the whole
subtitle Dolce lingua (Sweet Tongue), and fea-
part in which Diana is masturbating Angela; 3) Scene of
tured the image of an open female mouth, a
scene: the bit in which the erect member of the man is
sight which undoubtedly helped the film’s com-
seen, shortening of the scene in which the woman licks
mercial success. Blow Job performed well in Italy
the man; ) Mating more pecorum during the orgy.”
and was also released in Spain: it premiered in
Madrid in June 984, in the hardcore version, as
Inferno (Hell)
Blow Job (Trabajo de absorción), to poor box-
D: Dario Argento. S and SC: Dario Argento;
office.
DOP: Romano Albani (Technicolor, Technovi-
The director’s next film was La gemella
sion); M: Keith Emerson, arranged by Emerson
erotica (Due gocce d’acqua) (The Erotic Twin—
and Salmon, conducted by Godfrey Salmon; E:
Dead Ringers), a disappointingly bland erotic
Franco Fraticelli; ArtD: Giuseppe Bassan; SD:
thriller (shot in hardcore version as well) fea-
Francesco Cuppini, Maurizio Garrone; CO:
turing among others Teutscher and Filzi, which
Massimo Lentini; MU: Pierantonio Mencacci;
retained none of Blow Job’s weird fascination.
Hair: Luciana Maria Costanzi, Giancarlo De
Facing severe economic problems, in the early
Leonardis; AD: Lamberto Bava; 2ndAD: Andrea
Summer of 98 Cavallone accepted to direct an-
Piazzesi; SVFX: Mario Bava, Pino Leoni; C:
other hardcore porn for Boschero and Belpedio.
Idelmo Simonelli (underwater sequence: Gian-
He ended up making three, very weird ones—
lorenzo Battaglia); SE: Germano Natali; SOE:
Baby Sitter (also known as Il nano erotico), Pat,
Luciano Anzellotti, Massimo Anzellotti; SOE ed-
una donna particolare, and … e il terzo gode—
itor: Attilio Gizzi; Sound engineer: Francesco
which he signed under the pseudonym Baron
Groppioni; B: Giancarlo Laurenzi; Mix: Romano
Corvo.
Pampaloni; KG: Agostino Pascarella; GA: Al-
berto Altibrandi; SP: Francesco Bellomo; SS:
Maria Serena Canevari; AC: Michele Piccia-
Notes
redda, Stefano Ricciotti; SO: Mario Dallimonti;
1. For an in- depth analysis of Cavallone’s work, see
DialD: Neil Robinson; W: Berta Berti; AsstArtD:
Roberto Curti, Mavericks of Italian Cinema. Eight Unortho-
Davide Bassan; AsstSD: Massimo Garrone; Set
dox Filmmakers. 1940s–2000s (Jefferson NC: McFarland,
painters: Giorgio Palomba, Mauro Tiberi; AE:
208), 28–63.
Piero Bozza. Cast: Leigh McCloskey (Mark El-
2. “Spogliandosi discutono,” Corriere della Sera, August
2, 977.
liot), Irene Miracle (Rose Elliot), El
eonora
3. Dentro e fuori la classe depicted an ordinary day in
Giorgi (Sara), Daria Nicolodi (Elise Delong Val-
three schools from different parts of the nation—respec-
adler) Sacha Pitoeff (Kazanian), Alida Valli
tively a technical institute in Genoa, a lyceum in Rome and
(Carol), Veronica Lazar (The Nurse), Gabriele
an agrarian institute in Cosenza—with interviews with the
students. Cavallone shot over 4,000 meters of film,
Lavia (Carlo), Feodor Chaliapin, Jr. (Prof.
without any pre- existing script, and granting total freedom
Arnold/Varelli), Leopoldo Mastelloni (John the
of expression to the interviewees to preserve spontaneity.
Butler), Ania Pieroni (Musical Student), James
It was a return to his early days, which explored with an
Fleetwood (Cook), Rosario Rigutini (Man),
uncommon sensibility the world of teenagers at school,
Ryan Hilliard (Shadow), Paolo Paoloni (Music
their problems, the relationship with their parents, their
dreams (or lack thereof) for the future. The documentary
Teacher), Fulvio Mingozzi (Cab Driver), Luigi
was characterized by a singular pessimism: as a critic
Lodoli (Bookbinder), Rodolfo Lodi (Old Man
noted, “it seems there are no wishes, nor ideals, ambitions
in library); uncredited: Lamberto Bava (Passer-
or fights to share.” G.B., “Quegli studenti ghettizzati…,”
by in New York), Andrea Piazzesi (Passer-by
Corriere della Sera, November 27, 979.
4. According to the Public Cinematographic Register,
in New York). PROD: Claudio Argento for
shooting started on August 6, 979.
Produzioni Intersound (Rome); EP: Salvatore
5. The 9-page outline and the 99-page script deposited
Argento, Guglielmo Garroni; PM: Andrew Gar-
at Rome’s CSC are titled La strega.
roni, Angelo Iacono; UM: Cesare Jacolucci; PA:
6. For an in- depth analysis of Damiani’s film, see
Anna Maria Galvinelli, Saverio Mangogna,
Roberto Curti, Italian Gothic Horror Films, 1957–1969 (Jef-
ferson NC: McFarland, 20), 7–76.
Michela Prodan; PAcc: Carlo Du Bois, Ferdi-
7. Davide Pulici and Manlio Gomarasca, “Il dolce mat-
nando Caputo, Carla Menicocci, Egle Friggeri;
1980: Inferno
9
New York production services: William Lustig.
Then, one day Argento realized he was
Unit publicist: Enrico Lucherini, Walter Afford.
healed. Around the same time Daria Nicolodi
ADM: Solly V. Bianco. Country: Italy. Filmed in
resurfaced in his life, and what followed was the
New York and at De Paolis In.Ci.R. Studios and
most satisfying period in his career, with
R.P.A. Elios Studios (Rome). Running time: 06
Suspiria opening overseas to enthusiastic audi-
minutes (m. 2896). Visa n. 74729 (2.8.980); Rat-
ences (among them, a young Stephen King, who
ing: V.M.4. Release dates: 2.8.980 (Italy),
would mention the maggot scene in his 98
4.6.980 (France), 6..980 (Spain), 9.2.980
essay Danse Macabre) and becoming a world-
(West Germany), 9.3.980 (Japan), 9.980 (UK),
wide hit. It even inspired some foreign epigones,
8..986 (USA); Distribution: 20th Century–
namely Norman J. Warren’s Terror (978) and
Fox. Domestic gross: ,33,763,000 lire. Also
Richard Marquand’s The Legacy (978), two
known as: Horror Infernal—Feuertanz der Zom-
movies which explicitly borrowed from
bies (West Germany).
Argento’s work—and, in case of Warren’s film,
New York. Rose, a young poetess, discovers
the British director acknowledged it in inter-
from a book she borrowed from elderly antique
views.
dealer Mr. Kazanian that the building where she
Before he started working on his next pic-
lives is one of three houses—the other ones being
ture, Argento decided to take a long break, tak-
located in Freiburg and Rome—built by an
ing advantage of a promotional tour in the
architect named Varelli for the Three Mothers, su-
States: this resulted in his association with
pernatural entities who have the power of life and
George A. Romero, with the Italian director co-
death upon humanity. Rose writes a letter to her
producing Dawn of the Dead (978). Argento
brother Mark, a music student at the Rome con-
liked America so much that he not only chose
servatory, telling him about her discovery. However,
to set his next movie there (something he
the letter is stolen by Mark’s girlfriend Sara, who
already had in mind since he finished Suspiria2)
soon meets a horrible death together with a casual
but he moved to New York to complete the
acquaintance, a man named Carlo. Meanwhile, in
script for what he would later label as “one of
New York, Rose is horribly murdered too. Upon
the most mysterious projects in my career”3: the
learning of his sister’s death, Mark takes a plane to
second part of his esoteric journey in the world
New York to investigate. He settles in Rose’s apart-
of alchemy. As with the previous film, the title
ment and meets the other tenants, who include an
would be composed of only one word, a
elderly wheelchair- bound professor and his nurse,
universal one which recalled Medieval images:
the drug- addicted countess Elise and her servants
Inferno.4 Daria Nicolodi had a part in the writing,
Carol and John. More gruesome deaths ensue, in-
even though this time she only devised the basic
cluding Kazanian’s death during a moon eclipse.
storyline: “At the beginning I didn’t want to have
Eventually Mark finds the solution to the mystery
anything to do with it, after all the shocks and
and comes face to face with the elusive Varelli…
injustices of Suspiria… . But they kept telling me
The impulse had become irresistible. There
that I was the only one who could write a similar
was only one answer to the fury that tortured
story, and in fact there were not many people
him. The production of Suspiria, his most am-
well versed in the matter in Italy. So, I accepted,
bitious and elaborate film, had psychologically
also because I had the whole story already in my
drained Dario Argento, and the end of his rela-
head. I wrote it and as a reward I got a beautiful
tionship with Daria Nicolodi had marked him
trip in the Caribbean.”
deeply. He was the father of two daughters, who
Then Argento set out to pen the script, in
were away from him. He was young, rich and
utter isolation in his beloved hotel rooms. The
famous, but he wasn’t happy. At that time, as he
result of several months’ work was a 267-page
recalled in his memoir, he had been of
ten
screenplay, divided into 99 scenes described in
tempted by the thought of suicide. He had even
minute details, including set elements and cam-
barricaded himself in his hotel suite on the top
era movements. Dardano Sacchetti was called
floor of the Grand Hotel Flora, in Rome’s via
in for a last- minute, uncredited job as consult-
Veneto, moving a wardrobe and a table against
ant:
the French window so that, when the impulse
of throwing himself into the void grabbed him
It was a friendly collaboration, but completely irrel-
in the middle of the night, it would be impossible
evant. Dario had been working on the script for six
to quench it.
or seven months. He had just finished it. He was
20 1980: Inferno about to start shooting and, as it happens when you
Leigh McCloskey (cast after James Woods, his
finish a work, he had some doubts. His father and
first choice for the lead, backed out to shoot The
his brother called me and asked me if I could spend
Onion Field), Irene Miracle (chosen for her past
some days with Dario and be his sparring- partner,
as a professional swimmer, which would help
so to speak. The pact was that I could ask all the
her perform a long scene underwater), Sacha
money I wanted, but I wouldn’t sign the script, what-
Pitoeff (of L’année dernière à Marienbad fame),
ever may happen. I read the script and for a week I
plus faces seen in his previous works (Daria Ni-
spent seven to eight hours a day with Dario, in a hotel
colodi, Alida Valli and Gabriele Lavia) and new
… he told me his doubts, we talked about them, and
eventually Dario became convinced that the script
ones, such as Eleonora Giorgi and Leopoldo
was all right as it was, except for one scene. We dis-
Mastelloni, and the Romanian Veronica Lazar,
cussed some changes, but when Dario rewrote it he
Adolfo Celi’s wife. The casting choices were also
only changed a marginal detail—nothing more. So,
telling about Argento’s status as one of the coun-
for a week I gave Dario my professional availability
try’s most popular filmmakers: Lavia, in his first
… but there is nothing of mine in the film.6
movie role in five years, was by then one of Italy’s
most noted stage actors,2 and Giorgi’s presence
Filming started in Spring 979, on a budget
was widely publicized in the Italian press. The
of 3 million dollars. Argento had cut a deal with