If we ignore Ossessione (1942) and take Mario
Bava’s The Girl Who Knew Too Much (1962)
as being the first giallo film,
then it becomes apparent that not only is Bava’s Girl the birth of the traditional giallo but it is also the only giallo that is shot in Black & White. The interesting
question is; why for so early in the life of a genre did the giallo move from Black and White
film to Colour? Was it just a case of timing; with the widespread introduction
of colour in cinema? Or was there something more to the genre itself that leant
more towards the use of colour on screen than the monochrome of Black and
White?
Comparing color to sound, Kalmus described color as
the next logical step in film's historical trajectory, "tending towards
complete realism." While helping to mold film's vision "according to
the basic principles of art." her approach aimed to produce what she
termed an "enhanced realism" (Dalle Vacche and Price, 2006 p31-32)
This idea of
enhanced realism would really emphasize the horror of the giallo greater than it would being
shot in black and white; the idea of seeing a murder being committed in colour
seemingly being more realistic adds greater impact to the murders that
are being shown in gialli.
Namely, Bazin very deftly offers a theory of color in
film that ultimately allies cinema with painting, such that color becomes the
constituent feature of art, whereas black and white simply documents reality. (Delle Vacche
and Price, 2006 p51)
The idea of
black and white visually implying the documentation of reality when applied to
the genre of horror, can certainly remove some threat on screen from the murderer;
the audience might find themselves detached from what is happening on screen.
Though the timing of the common place use of colour in film and the birth of
the giallo did pretty much
coincide with each other, I would argue that the giallo genre itself wouldn’t have been as popular as it was
(even if only on a vernacular level) if they were shot in black and white.
Mario Bava's Blood
and Black Lace opens with a credit sequence unique in gi-allo cinema: each of the actors
featured in the film are given their own tableau, bathed in a combination of
red and green chiaroscuro lighting, with appropriate black spots. (Koven
2006, p151)
Whilst Mario
Bava had made a name for himself with his expert use of light in previous
films, he quickly adapts to colour straightaway with his second giallo film Blood and Black Lace (1964); his
chiaroscuro lighting effect in the opening title credits give the film a very
artistic feel and using his skill in lighting, he sets the tone for future giallo films to experiment with the
use of colour, beyond just the simple effect of “enhanced realism”.
Clip 1. Blood and Black Lace (dir
Bava, 1964)
The usual reaction of a color upon a normal person has
been definitely determined. Colors fall into two general groups. The first
group in the "warm," and the second the "cool" colors. Red,
orange, and yellow are called the warm or advancing colors. They call forth
sensations of excitement, activity, and heat. In contrast, green, blue, and
violet are the cool or retiring colors. They suggest rest, ease, coolness.
Grouping the colors in another manner with gray suggest subtlety, refinement,
charm. When mixed with black, colors show strength, seriousness, dignity, but
sometimes represent the baser emotions of life. (Dalle Vacche and Price, 2006
p26)
Bava opening the
film, combining the warm colour of red with the cool of the green; in
chiaroscuro style lighting you could imply these two colours with the black
spots are telling us the seriousness of the use of colour in the film and it’s
cool characters are going to be set in a heated active story that will give its
audience a strong sensation of excitement.
When any two colors are placed together, the first
emphasizes in the second the characteristics which are lacking in the first. (Dalle Vacche
and Price, 2006 p29)
Bava, by placing
both the red and green directly casting across the films characters in the
opening title sequence is creatively getting the most out of each colour; this
allows him to keep his creative chiaroscuro lighting style whilst only having
to cast two colours to portray something far greater. The lighting for the
title sequence has various different shadings of colour, which looks so vastly
different when compared to the chiaroscuro of black and white film.
In black-and-white film there is but one way to
achieve extreme contrast: through the difference between black and white. In
the color image there are as many extreme contrasts as there are basic colors. (Dalle Vacche
and Price, 2006 p54)
Bava’s
chiaroscuro lighting, though has varying different set ups for each
actor/character in the sequence, manages to keep them all as a rather blank
canvas, not letting too much known about their personas, but with the beautiful
shadings of colour and the combination of red and green, aside with odd splashes
of blue; the sequence itself conveys a mysterious visual feel to it, using
colour coding introduce the audience to the films atmosphere.
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