Gino Santini's Lens: Ethiopia in The Seven Red Berets

I recently discovered Mario Siciliano's war film, The Seven Red Berets (Sette baschi rossi, 1969), which unfolds against the tumultuous backdrop of the Congo Crisis. What immediately caught my attention was the film's cinematography, particularly the exterior landscapes shot in Ethiopia, captured by cinematographer Gino Santini.

The Seven Red Berets departed somewhat from convention during its era, as filming predominantly occurred in Ethiopia—a rare choice for Italian genre cinema at the time. Santini and Siciliano capitalised on this unique setting, showcasing the country's stunning landscapes and untouched beauty, particularly highlighted by beautiful sunsets over rugged, desiccated terrain. Santini's cinematography captures the distinct features of Ethiopia's terrain, enriching Siciliano’s film by blending the raw beauty of nature with the inherent violence of the war film genre. This juxtaposition of serene landscapes against the turmoil of battlefields mirrors the dichotomy of the characters' experiences. Against the backdrop of the Simba rebellion, the cinematography serves as a  commentary on the complexities of life in conflict zones.

Santini, under the direction of Siciliano, captures the journey of his disparate group of soldiers as they traverse the varied Ethiopian terrain. This expedition takes them through the sunset-drenched locales mentioned earlier and extends to the unique geographical features of the Ethiopian landscape. Particularly noteworthy is the film's portrayal of the characters navigating the salt flats in the Danakil Depression, where Santini captures, through his lens, the harsh desiccation cracks that characterise this extraordinary terrain. Other regions featured include the majestic Ethiopian Highlands and the awe-inspiring Rift Valley.

As a cinematographer, Gino Santini exhibited a remarkable proficiency in photographing landscapes, particularly in diverse foreign settings. This talent is evident in his ventures into the Western genre, as seen in films like Garter Colt (Giarrettiera Colt, 1968) and Django the Bastard (Django il bastardo, 1969) to name a few. However, his expertise extends beyond this genre to include the Tunisian backdrop in Emmanuelle's Silver Tongue (Ecco lingua d’argento, 1976) and Savana: Violenza carnale (1979), as well as the snowy terrains depicted in The Lions of St. Petersburg (I Leoni di Pietroburgo, 1972).

Delving deeper into Santini's filmography, one can see that many of the visually striking shots in Sette baschi rossi found a second life in his later collaboration with Mario Siciliano, Skin 'Em Alive (Scorticateli vivi, 1978). The decision to reuse such visuals comes as no surprise, considering the sheer beauty and artistry evident in these scenes. Santini's exceptional ability to immortalise Ethiopia’s landscapes evidently made them irresistible for a second cinematic venture.

Italian filmmakers, such as Santini and Siciliano, have often utilised surprising and exotic settings, providing a glimpse into unfamiliar terrains. This is reminiscent of the war film tradition, where showcasing foreign climates often provides visual interest but also underscores the universality of the human experience in the face of conflict. Santini's proficiency in capturing diverse landscapes reaffirms the synergy between Italian genre cinema and the exploration of unexpected global settings.

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