An adaptation of the Ellery Queen's Mystery Magazine short story "Man and Boy" by Michael J. Carroll, Rabid Dogs was a departure for Bava, as its emphasis on realism sets it apart stylistically from his colourful horror films. Following three weeks of principal photography, producer Roberto Loyola declared bankruptcy, resulting in the then-incomplete film being shelved due to his ownership of the rights. Rabid Dogs remained unseen for over two decades, but following an acquisition of the rights by Lander, it has since been released on home video in multiple versions, with various scenes being partially re-shot, added or removed for continuity. One of these versions, titled Kidnapped, was supervised by Bava's son Lamberto and his colleague Alfredo Leone.
A Franco-Canadian remakeof the same name, directed by Éric Hannezo, was released in 2015.
Plot
Four criminals rob a car carrying company wages. During their getaway, their car is damaged and one is killed. The remaining criminals, Doc (Maurice Poli), Blade (Aldo Caponi) and Thirty-Two (Luigi Montefiori) are forced to flee on foot into an underground car park, pursued by the police. The criminals take hostages, and when Blade accidentally kills one, the police, seeing the other hostage Maria (Lea Lander) in danger, back away, allowing the criminals to escape in her car. Doc knows that a description of their new getaway car will soon reach the authorities, so they hijack another car. The driver, Riccardo (Riccardo Cucciolla), protests that he has to get his young child – a comatose boy in a blanket – to hospital, but the criminals force him to drive them out of the city towards their hideout.
During the journey, Maria cannot stop shaking, which annoys Blade and Thirty-Two. They fondle her and Doc is barely able to restrain them. At a traffic construction site, Doc tells everyone to close their windows, attracting attention on a hot day. Doc then has them open their windows and they continue. Later, Maria asks to stop so she can relieve herself, then tries to escape. Blade and Thirty-Two chase her to an unoccupied farmhouse, recapture her, and force her to urinate in public as punishment. Later, Riccardo asks Doc if he can stop for food. Riccardo buys sandwiches and soda, while Thirty-Two buys scotch. When a woman recognizes Riccardo, he says he's going on a picnic with friends.
Back on the expressway, Thirty-Two becomes intoxicated and draws attention from other motorists. Doc and Blade fail to control him and he attempts to rape Maria. Rather than risk attracting police attention, Doc shoots him. Blade is shaken but understands that Doc had no choice. Thirty-Two does not die, but becomes immobile.
Riccardo tells them they need petrol. However, when they reach a filling station, the attendant (Francesco Ferrini) tells them that he is on his break and will not help them for 20 minutes. Doc, in a hurry, threatens him, but he pulls a gun, saying he was robbed the previous year and cannot be intimidated. Blade forces Maria to ask him to fill their car so they can get the boy to hospital. The attendant relents, but a young woman (Eriak Dario) shows up claiming her car had broken down and she needs assistance. She pressures Doc into giving her a ride to the next town. When she opens the side door, Thirty-Two's bloody hand appears. The woman fails to see this, but the attendant does. To avoid a scene, Doc allows her to join them. The attendant returns to his office with a shrug. The hitchhiker, also named Maria, talks constantly, annoying everyone. She is oblivious to the situation. When she inadvertently removes the blanket covering Thirty-Two', revealing the bullet wound, Blade kills her. Doc forces Riccardo to pull over so they can dispose of her. They also carry Thirty-Two out of the car, and Blade shoots his mortally wounded friend in a mercy killing.
The group finally reaches the hideout: a ruined villa where Doc has stashed a back-up car, carrying papers to enable him and Blade to emigrate. Riccardo and Maria are elated, but Doc reveals he intends to kill them to secure their escape. Riccardo tries to persuade Doc to let the boy, in a sedative-induced sleep throughout, live. Doc refuses and orders Riccardo to remove him from the car. As Riccardo does so, he pulls out a gun hidden in the child's blanket and shoots both Doc and Blade, who shoots Maria dead before expiring. With the car tires flat from the bullet hits, Riccardo moves the child to Doc's getaway car, takes the stolen money, and leaves.
In a final twist, it is revealed that Riccardo has a dark secret: he is a criminal who kidnapped the child and phones the child's mother to tell her to pay a ransom of six million lire and he will call back with instructions. Riccardo returns to his new car containing the child in the trunk and drives away.
Style
Unlike Bava's earlier films that showcased garish colors and outlandish camera angles, Rabid Dogs was described by Roberto Curti as not even looking like the work of the same director.[3] The film starts similar to the poliziotteschi films that were growing popular in Italy in the 1970s, but lacks the sociological insights those films had.[3]
By the early 1970s, Mario Bava was facing difficulties in his career.[2] He received creative freedom to make the type of film he wanted with Lisa and the Devil (1974), which was shelved when it failed to find a distributor at the Cannes Film Market.[2] Another of his films, A Bay of Blood (1971), was a box office disappointment in Italy.[3] This led to him trying a new project different from anything he had done previously, and he began developing what would become Rabid Dogs under the working title L'uomo e il bambino. The film is based on "Man and Boy", a short story published in an issue of Giallo Mondadori,[3] and the screenplay was written by Alessandro Parenzo and an uncredited Cesare Frugoni.[2]Principal photography began in August 1973; Bava opted to shoot everything in chronological order.[3] The film was shot on the road along the Roma-Civitavecchia motorway.[3]
Al Lettieri was hired to play Riccardo, but after arriving on the first morning of shooting intoxicated, he was fired and the role was recast three days later with Riccardo Cucciolla.[3] Cucciolla could not speak English; according to co-star Maurice Poli, he had to read his lines in English from the script that was placed strategically around the car.[3] Bava's son, Lamberto Bava, who was the assistant director on the film, has discussed several issues with the film's production stemming from producer Roberto Loyola.[3] Reportedly, Loyola had financial difficulties, and the crew stopped working when their cheques were not dated in the first week.[3] After Loyola signed them, the crew continued work to only find later that all of their cheques had bounced.[3] Despite these problems, Bava was able to complete principal shooting in three weeks.[3] During filming, the film's title became Ore 9 Semaforo (9 A.M. - Red Light) and later Cani Arrabbiati.[3]
All that remained to be filmed were some cutaway shots involving helicopters and police cars, and a pre-credit sequence.[3] Loyola went bankrupt during this period, and had the production shelved.[3] The Bavas attempted to regain possession of the film, but were unable to retrieve the rights to complete it.[3]
Release
Rabid Dogs was screened in 1995 at the MIFED Film Market in Milan.[4] This version was titled Semaforo rosso (lit.'Red Traffic Light') and was developed by Lea Lander's group Spera Cinematografica with funding from German film journalist Peter Blumenstock.[4] Lamberto Bava stated that this version was completed against his wishes and created from a rough cut of the film assembled by Carlo Reali while originally filming.[4] This version included shot-on-video inserts to connect footage and the addition of a police siren sound at the end of the film.[4] As the film was shot without sound, the soundtrack and dubbing had to be completely redone. This version had its premiere at the 14th Brussels International Film Festival in 1996.[4]
Home video
The first DVD of the film was limited to 2000 discs from Blumenstock's label Lucertola Media in 1998.[4] This version lost Spera's inserts and kept the original ending of the film, which was shot per Bava's script indications.[4] The film was released again in Germany in 2001 through the Astro label.[4] The Astro version does not contain the prologue and features a longer take of the film's ending.[4] Following this, a fourth version was developed as a rough draft by Alfredo Leone.[4] This version includes more video footage of missing cutaway shots, two new scenes shot on video at the end of the film and ends with a zoom-in and freeze-frame of a mother's face.[4] A fifth version of the film was released by both Leone and Lamberto Bava, which added stock footage of 1970s police cars and new scenes shot on 35mm by Lamberto and Roy Bava between April and May 2001.[4] This version contains new dubbing and a new music score by Stelvio Cipriani.[4] Lamberto Bava edited this version with Mauro Bonanni, cutting parts of the film he felt Mario Bava would not have wanted.[4]
Roberto Curti has stated that among the above versions, the Astro version was the best release as the Leone/Lamberto Bava release was "nothing short of a mess, albeit a well-intentioned one".[5] The DVD released by Anchor Bay contains the Leone and Lamberto Bava version of the film titled Kidnapped, as well as the Lucertola version.[5] A Blu-ray of the film was released by Kino Lorber in the United States which only contains the Leone and Bava version titled Kidnapped.[6] In the United Kingdom, Arrow Video released a Blu-ray that contained both Kidnapped and the version seen on the American Anchor Bay release.[6] The Lucertola version on Arrow Video's Blu-ray contains parts in standard definition as no complete film print could be found after Kidnapped was created.[6]
Critical reception
Tim Lucas, author of the critical biography Mario Bava: All the Colors of the Dark, calls the film "an exceptional work in the distinguished career of Mario Bava" and states that Rabid Dogs is to Bava's career what Detour (1945) is to the filmography of Edgar G. Ulmer, a minimalist noir masterpiece that shows how much drama he was capable of conjuring onscreen with little or no means."[7]
On reviewing the Semaforo rosso version, Slant Magazine gave the film three and a half stars out of four, declaring that the "final plot twist so shocking that it forces the spectator to reevaluate everything that transpired prior. Quite cynically, Bava evokes a human society where no one is to be trusted".[8] Reviewing the Arrow Video Blu-ray, Fangoria declared that the Semaforo rosso cut superior to Kidnapped, noting that Kidnapped "is still a striking film, just one that was altered from the original intent in a few unflattering ways." and the Rabid Dogs was an "overlooked masterpiece ranks up there with [Mario Bava's] best movies."[6]
Mario Bava was an Italian filmmaker who worked variously as a director, cinematographer, special effects artist and screenwriter, frequently referred to as the "Master of Italian Horror" and the "Master of the Macabre". His low-budget genre films, known for their distinctive visual flair and stylish technical ingenuity, feature recurring themes and imagery concerning the conflict between illusion and reality, as well as the destructive capacity of human nature. He was a pioneer of Italian genre cinema, and is regarded as one of the most influential auteurs of the horror film genre.
Black Sabbath is a 1963 Italian horror anthology film directed by Mario Bava. The film consists of three separate tales that are introduced by Boris Karloff. The order in which the stories are presented varies among the different versions in which the film has been released. In the original, Italian print, the first story, titled "The Telephone", involves Rosy who continually receives threatening telephone calls from an unseen stalker. The second is "The Wurdulak", where a man named Gorca (Karloff) returns to his family after claiming to have slain a Wurdulak, an undead creature who attacks those that it had once loved. The third story, "The Drop of Water", is centered on Helen Corey, a nurse who steals a ring from a corpse that is being prepared for burial and finds herself haunted by the ring's original owner after arriving home.
Lamberto Bava is an Italian film director. Born in Rome, Bava began working as an assistant director for his director father Mario Bava. Lamberto co-directed the 1979 television film La Venere d'Ille with his father and in 1980 directed his first solo feature film Macabre.
Blood and Black Lace is a 1964 giallo film directed by Mario Bava and starring Eva Bartok and Cameron Mitchell. The story concerns the brutal murders of a Roman fashion house's models, committed by a masked killer in a desperate attempt to obtain a scandal-revealing diary.
Riccardo Freda was an Italian film director. He worked in a variety of genres, including sword-and-sandal, horror, giallo and spy films.
The Girl Who Knew Too Much is a 1963 Italian giallo film. Directed by Italian filmmaker Mario Bava, the film stars John Saxon as Dr. Marcello Bassi and Letícia Román as Nora Davis. The plot revolves around a young woman named Nora, who travels to Rome and witnesses a murder. The police and Dr. Bassi don't believe her, since a corpse can't be found. Several more murders follow, tied to a decade-long string of killings of victims chosen in alphabetical order.
The Whip and the Body is a 1963 gothic horror film directed by Mario Bava under the alias "John M. Old". The film is about Kurt Menliff who is ostracized by his father for his relationship with a servant girl and her eventual suicide. He later returns to reclaim his title and his former fiancée Nevenka who is now his brother's wife. Menliff is later found murdered, but the locals believe his ghost has returned to haunt the castle for revenge.
Black Sunday is a 1960 Italian gothic horror film directed by Mario Bava in his official directorial debut, and starring Barbara Steele, John Richardson, Andrea Checchi, Ivo Garrani, Arturo Dominici and Enrico Oliveri. Loosely based on Nikolai Gogol's short story "Viy", the film takes place in Moldavia and tells the story of a witch who is put to death by her brother, only to return two centuries later to seek revenge upon his descendants.
Danger: Diabolik is a 1968 action and crime film directed and co-written by Mario Bava, based on the Italian comic series Diabolik by Angela and Luciana Giussani. The film is about a criminal named Diabolik, who plans large-scale heists for his girlfriend Eva Kant. Diabolik is pursued by Inspector Ginko, who blackmails the gangster Ralph Valmont into catching Diabolik for him.
I Vampiri is a 1957 Italian horror film directed by Riccardo Freda and completed by the film's cinematographer, Mario Bava. It stars Gianna Maria Canale, Carlo D'Angelo and Dario Michaelis. The film is about a series of murders on young women who are found with their blood drained. The newspapers report on a killer known as the Vampire, which prompts young journalist Pierre Lantin to research the crimes. Lantin investigates the mysterious Du Grand family who lives in a castle occupied by Gisele Du Grand who is in love with Lantin. She lives with her aunt, who hides her face in a veil, as well as the scientist Julian Du Grand, who is trying to find the secret to eternal youth.
Caltiki – The Immortal Monster is a 1959 black-and-white science fiction-horror film with similarities to The Blob that was released in the previous year. The film's storyline concerns a team of archaeologists investigating Mayan ruins, who come across a creature that is a shapeless, amorphous blob. They manage to defeat it using fire, while keeping a sample of the creature. Meanwhile, a comet, which previously passed near the Earth around the time of the collapse of the Mayan civilization, is due to return, raising the possibility of a connection between the creature and the comet.
The House of Clocks is an Italian horror film directed by Lucio Fulci. In it, a wealthy older couple is murdered during a robbery by three young perpetrators. The event results in a supernatural reversal of time, symbolized by the fast, counter-clockwise movement of hands on the house's many clocks. Eventually, this leads to the resurrection of the older couple, who subsequently seek to terrorize the three burglars.
Lisa and the Devil is a 1974 horror film directed by Mario Bava. The film was first released in Spain as El diablo se lleva a los muertos and stars Elke Sommer as a young tourist who loses her way in Toledo and spends the night at a villa belonging to a family of mysterious Spanish aristocrats.
Shock is a 1977 Italian supernatural horror film directed by Mario Bava and starring Daria Nicolodi, John Steiner, and David Colin, Jr. Its plot focuses on a woman who moves into the home she shared with her deceased former husband, where she finds herself tormented by supernatural occurrences. It was Bava's last theatrical feature before he died of a heart attack in 1980.
Kill, Baby, Kill is a 1966 Italian gothic horror film directed by Mario Bava and starring Giacomo Rossi Stuart and Erika Blanc. Written by Bava, Romano Migliorini, and Roberto Natale, the film focuses on a small Carpathian village in the early 1900s that is being terrorized by the ghost of a murderous young girl.
Hatchet for the Honeymoon is a 1970 giallo film directed by Mario Bava and starring Stephen Forsyth, Dagmar Lassander, Laura Betti, and Femi Benussi. The story follows John Harrington, a hatchet-wielding madman who murders young brides in an effort to recall a childhood trauma.
Macabre is a 1980 Italian horror film directed by Lamberto Bava.
Baron Blood is a 1972 horror film directed by Mario Bava. An international co-production of Italy and West Germany, the film stars Joseph Cotten as Baron Otto Von Kleist, a murderous noble who is resurrected from the dead by his descendant, Peter, and a college student named Eva.
Non canto più is a 1945 Italian comedy film directed by Riccardo Freda and starring Enzo Fiermonte, Vera Bergman and Paola Borboni. The film originally began shooting several years earlier, but its production was heavily delayed due to wartime conditions and it wasn't released until 1945.
No, the Case Is Happily Resolved is a 1973 Italian crime drama film written and directed by Vittorio Salerno and starring Enzo Cerusico, Riccardo Cucciolla and Martine Brochard. The finale of the film was re-shot after the distribution company requested a change to the original bleak ending.
References
Curti, Roberto (2013). Italian Crime Filmography, 1968-1980. McFarland. ISBN978-0786469765.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
