Quatro Vezes Aquela Noite

Master director Mario Bava is best known for his horror films, and that's hardly surprising as films such as Blood and Black Lace and Black Sabbath certainly represent the best of his oeuvre - but he also made a few films outside of the horror genre, and Four Times That Night is surely one of the best. I can't say I'm a big fan of sex comedies, as while I enjoy seeing sex in movies; I tend to prefer it with a little more sleaze than what films like this tend to offer. However, by taking his central plot theme from the Akira Kurosawa masterpiece 'Rashomon', Bava has made a sex comedy that is interesting for the way it pans out, rather than because of the sex theme. The plot follows Gianni and Tina; a man and a woman that meet in a park. They end up going on a date together, but it ends mysteriously when Tina returns home with a ripped dress and Gianni is sporting a nasty looking scratch on his forehead. Both Tina and Gianni give their version of what happened on that night, and the story is given a third angle from Gianni's doorman.

It's clear that this film is never going to be as deep or as fascinating as Kurosawa's masterpiece, but as a slice of light entertainment; it works fine. Bava is famous for his use of lighting and technique in order to create atmosphere for his horror films, although this movie doesn't allow him to do that. That being said, Bava's fingerprints are all over the film; as the garish use of colour features prominently, and the seventies style is what helps to elevate the film above the usual level of a gentle sex themed comedy. The film benefits from the presence of Daniela Giordano; the sexy female lead whom Bava makes best use of at all opportunities. She is joined by Fulci muse Brett Halsey, as well as Dick Randall; a man more famous for his producing credits. Bava attempts to give the film some substance by way of a psychologist explaining how different people view the same events from different perspectives...but I find it hard to believe that three people could view the same event in such wildly differing ways. One slight criticism of the film is that it's not very funny...but it's fun enough, and worth seeing.

I honestly didn’t know what to expect from a Bava sex comedy which, thankfully, emerged to be not quite as low-brow and vulgar as most genre offerings (which the Italians would soon make their own); for the record, Lucio Fulci also dabbled in the subgenre a few years later with the THE EROTICIST (1972), which has just been released on R1 DVD. Even so, the film also wasn’t particularly interesting per se, albeit a typically stylish effort from this director. As a matter of fact, despite being undeniably amusing in its RASHOMON (1950)-like multiple (and hugely contrasting) depiction of the central situation, it made for a rather tedious – and dated – whole!

Anyway, the plot involves a young couple (Brett Halsey and Daniela Giordano) who meet by accident one day and then decide to go out together that night – which ends with the girl having her dress torn and the man with scratches on his forehead! Both of them then recount the way things went (she to her mother and he to his pals) – according to Giordano, Halsey tried to rape her; he, on the other hand, passes himself off as a shy person with the girl an insatiable vamp!

A third version of events is told by the oversexed middle-aged concierge of the complex where Halsey lives, which sees the latter depicted as a homosexual who brought Giordano to his flat so that she could serve as partner for his lover’s lesbian companion. This is the funniest, but also campiest, part of the film – funny due to the banter between the concierge and his dumb listener and campy because of the stereotypical representation of the male gay lifestyle, though the women’s angle is treated with greater sensitivity)! The last interpretation is then offered by a psychiatrist which rather deliberately supplies the most innocent and, frankly, dull outcome possible for that fateful night – since the closing narration goes on to ask the audience whether they actually swallowed his ‘theory’!

Despite having an American lead in Brett Halsey (who’s somewhat uneasy with the fluctuations in his character), the film really revolves around statuesque beauty Daniela Giordano (a former winner of the Miss Italy contest, no less). She looks confident in her various suggestive poses (this is easily Bava’s most explicit film with respect to nudity, though still pretty mild – there’s a similar hilarious contrivance to conceal private parts in bed as seen in DANGER: DIABOLIK [1968]!) but also demonstrates reasonable talent in her various facets of virtuous ingénue, sultry seductress, annoyed object of desire, etc.

Accompanying the film is a lounge soundtrack all-too-typical of its era. Incidentally, there’s some confusion concerning the year in which the film was made – many give it as 1972, but the look and feel of it all simply spells 1960s to me and, in fact, it’s listed in other sources as 1969 (which I’m inclined to believe); others yet seem to concede that the latter is true but then report its actual date of release as late as 1976!! Interestingly, the print on display has the film split into two parts – where the title in Italian is actually given as QUATTRO VOLTE…QUELLA NOTTE (which fits the English translation, whereas the original QUANTE VOLTE…QUELLA NOTTE means HOW MANY TIMES THAT NIGHT!); strangely enough, just as the film goes into its second half, the audio level drops considerably! By the way, this proved to be the director’s first collaboration with producer Alfredo Leone (who eventually got hold of the rights to a sizable portion of Bava’s back catalog!).

While walking in the park with her dog, Tina Brandt (Daniela Giodarno) is flirted by the playboy Gianni Prada (Brett Halsey) in his fancy sport car. They schedule a date for the night, and Tina dresses her elegant and expensive dress. They go to a night club to dance and Tina returns home late night. Her mother Sofia (Valeria Sabel) sees Tina sneaking with her dress torn apart and Tina tells that Gianni tried to rape her. On the next morning, Gianni tells a different story to his friend. Later, the doorman (Dick Randall) tells another version of the story. Last but not the least, the possible truth is disclosed.

"Four Times That Night" is a surprisingly delightful and erotic romantic comedy of the master of horror and thriller Mario Bava. The plot brings an immediate association with "Rashômon", with four versions of the same story told by four different people. Daniela Giordano, the former Miss Italy 1966, is gorgeous, sexy and hot and it is delightful to see her wearing miniskirts or naked. In 1991, Elizabeth Perkins and Kevin Bacon filmed "He Said, She Said" where they are reporters and give their perspective and opinion of the same event in a variation of this storyline. My vote is seven.

Title (Brazil): Not Available

Usually known for gothic horror flicks, Mario Bava took a break from that and made this sex comedy in 1971. "Quante volte... quella notte" depicts multiple people giving their accounts of a tryst that took place between a male model and woman whom he came across in the park.

A previous review compared this man to Akira Kurosawa's "Rashomon". I wouldn't have initially picked up on that, but I see the similarity. An obvious difference is that "Rashomon" is a multilayered movie while this is simply a fun romp. Personally I thought one scene missed a chance. During the part where the doorman is giving his version, he runs up and down the stairs to music. I thought that they should've used either Jacques Offenbach's "Orpheus in the Underworld" (commonly known as the can-can song) or Franz Liszt's "Hungarian Rhapsody #2" (commonly used in cartoons to evoke something building up; Daffy Duck and Donald Duck played it on the pianos in "Who Framed Roger Rabbit").

Otherwise, a fun movie. Daniela Giordano was a real piece of eye candy.

Mario Bava, renowned for his gothic horror masterpieces, took an unexpected detour into the realm of sex comedy with "Quante volte... quella notte" (1971). This departure from his usual fare showcases Bava's versatility as a filmmaker, as he infuses the film with his signature visual flair and playful sensibilities.

The film's episodic structure presents a series of vignettes that explore the complexities of modern relationships and sexual dynamics. While some segments are more successful than others in terms of humor and insight, the overall tone remains lighthearted and charming. The ensemble cast delivers engaging performances, particularly in the more comedic moments, adding to the film's overall appeal.

However, "Quante volte... quella notte" is not without its flaws. The pacing can feel uneven at times, with some segments dragging on longer than necessary. Additionally, certain aspects of the film's portrayal of gender roles and sexual politics may come across as dated or problematic to modern audiences.

Despite its shortcomings, "Quante volte... quella notte" remains an enjoyable and often insightful diversion from Bava's more renowned works. While not a masterpiece, the film's lighthearted tone, charming performances, and occasional flashes of insight make it a worthwhile entry in the director's diverse filmography.