The theatre was testosterone-charged!
Fans - mostly young males under thirty-five - whooped, hollered, and stomped their feet roundly - as the thrilling non-stop action in two of Enzo G. Castellari films (Inglorious Bastards and Battle Squadron) unfolded on the screen.
And, to the delight of die-hard film buffs - the respected Italian Film Director was on hand - to chat up the fans, answer queries, and sign a newly-released DVD packaged under the Severn Films label.
When I arrived at the New Beverly Cinema around 6:45, a line of excited filmgoers was already snaking down the block, in spite of the fact the doors would not swing open until 7:30. And, by the time the curtain fell, there was not a seat left in the house.
The popular director, who was celebrating his birthday, was wowed by the turn-out.
"It's so great to see so many young faces here."
Two of the lead actors - Bo Svenson and Fred Williamson - signed autographs and offered up some behind-the-scenes trivia.
Fred jokingly quipped,
"I came because I wanted you all to see how great I look."
The audience howled.
"There's nothing hanging down anywhere that shouldn't be hanging down," he joked.
Bo, a little more low key, noted that he was thrilled to attend because Mr. Castellari impacted his life both creatively and otherwise.
"He taught me Grace," Bo added humbly.
During the course of the night when I had the opportunity to get up-close and personal with a question or two, I was wowed by the man's vigor.
And, of course, his charismatic presence.
Last evening Mr. Castellari wore an elegant black suit (Italian?) with a well-coordinated dress shirt open at the collar.
One young man in the audience asked the legendary director if he could provide any advice for talent starting out in the field.
"Get experience," he commanded.
On the heels of this worthwhile advice, he noted that he came up through the ranks.
"I brought coffee to this person. Moved a chair over for that one."
Working as an assistant director was a good idea, he stressed.
"In Italy it is difficult now to produce a film. So much politics. Unless you are the son of an official. Then, yes. you'll get the chance. But no one will go to see the movie," he chuckled.
He hinted at the need for "confidence" in one's abilities and that there must be a base of knowledge to back up choices.
"When you say - 'place the camera here' - that is the big moment."
There was a bit of scuttlebutt about the differences between filmmaking in America and Italy.
Bo Svenson, for instance, noted that sound was never recorded on the set.
"There were so many distractions. While you're acting in a scene, someone is asking the person next to you if they want an espresso. Activity on the set continues during filming, unlike Hollywood."
I recall the ritual, vividly. Once the bell rings on the sound stage - and the assistant director calls out - "Quiet on the set" - no one utters a word.
Not in Italy!
Bo noted that looping later in the studio was not a process he hankered to.
"I prefer the spontaneity. The magic of the moment when the scene is being captured on film."
Distractions can be upsetting to some actors where the "eye line" is concerned.
Years ago - on the set of "Black Moon Rising" - I recall actor Tommy Lee Jones "going off" when an Executive standing on the sidelines twitched (!) and spoiled his concentration when he was emotionally involved in a scene.
Joan Collins is another who prefers no movement around the peripheral when she is working on-camera. On the set of a "Dynasty Reunion" - I was standing in the wings and caught her eye - but avoided her wrath somehow. When she noticed me a few feet away - instead of calling the A.D. to haul my butt out of there - she gave me an approving glance up-and-down and carried on.
Whew!
In Italy, it appears, you fly by the seat of your creative pants!
When the first feature flickered up on the silver screen I was inclined to let the storyline unfold. But, within minutes, I found myself sitting up and paying very close attention to Mr. Castellari's celluloid offering.
Clearly, a deft capable hand was at the helm!
From the get-go, Castellari's innate ability to draw the filmgoer into the action in a seamless - almost magical way - was evident.
There was a subtlety to the "set ups", too. In fact, each frame of celluloid was carefully crafted, a work of visual art.
Elsewhere on the canvas, Bo Svenson strode through the landscape, a virile manly presence capable of carrying the film.
Fred Williamson's machismo was also appealing - but, it was often his risk-taking in comic moments - that grabbed the audience and caused them to cheer from below the floodlights.
Hats off to the New Beverly Cinema for providing a high-energy night of satisfying entertainment!
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