Given Italy’s almost non-existent horror narrative tradition prior to the late 1950s, and drawing from a series of interviews granted by director Riccardo Freda over the years (Lourcelles and Mizrahi,; Cozzi,; Colombo and Tentori,; Della Casa,; Pisoni and Ferrarese, ), film historians essentially see first Italian horror movie I vampiri (1957) as a random experiment written and shot on the fly, for reasons that have more to do with its director’s idiosyncrasies and taste for challenge than anything else. Resultantly, many academics have been stressing “the supposedly non-industrial quality” of the 1957 prototype and all the following Italian horrors made from late 1959 onwards, “which apparently relied only on the craftsmanship of talented directors” (Di Chiara,, p 30) like Freda, Mario Bava, Antonio Margheriti and so on. With the aim to enrich these largely anecdotal accounts of founding fathers’ ‘Great Deeds’, the present article positions filmic text I vampiri into its too-often-neglected industrial context. If ‘Great Man’ historiography is perhaps inevitable when discussing national cinemas and ‘first’ films, it certainly is possible to tame its rhetorical excesses by demonstrating that—as a cornerstone of commercial cinema—genre movies don’t just pop up out of the blue due to the sheer volition of creative individuals, but are manufactured within and shaped by an institutional and regulatory framework in which local and international factors intertwine. By adopting this materialistic approach, Freda’s experiment in terror ultimately emerges as a minor, low-risk speculation, and a market test confirming a long-standing Italian bias against home-grown horror narratives, to the point that it is more appropriate to consider Terence Fisher’s Dracula (1958) as the ‘originary film’ of Italian horror cinema. Because of a bet. I was talking with two producers one day, [Ermanno] Donati and [Luigi] Carpentieri. Will E Grace Stagione 2 Ita Download Itunes. Download Photo Editor Software For Java Phones on this page.

I said that a film could be made in 2 weeks, and they replied that it was impossible. I insisted, so they phoned [Goffredo] Lombardo, [owner of production and distribution company Titanus]: they explained to Lombardo my proposal and asked if he wanted to distribute the film once it was finished.

He accepted without much enthusiasm and I very quickly wrote a screenplay for I vampiri, which was shot in 12 days. Then I quit the job because I had an argument with the producers, and they completed the rest of the picture in 2 days. The movie was set in Paris but, thanks to the miniatures and tricks I created with cinematographer Mario Bava, we shot it in the courtyard of Titanus studio, in Rome (quoted in Cozzi,, p 27–28). In the early 1990s, Freda repeated the anecdote almost word by word, insisting on the low-budget nature of the project. I have always liked to be the first in filmmaking. I vampiri was born in quite curious a way.

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I was in Donati and Carpentieri’s office, we were thinking about some stories to bring to the screen, and I somewhat casually proposed to make a horror film. They asked me if I had some ideas ready to pitch. I didn’t, but I told them that I could come up with something in 24 h. So I brought them a story on the next day. I didn’t write anything, I just recorded my voice on tape. I also made all the sound effects myself, the creaking doors and so on.