Archive for the ‘Mario Bava’ Tag

Black Sabbath (1963)   Leave a comment

Boris Karloff introduces a trio of horror stories in Mario Bava’s anthology film, Black Sabbath. Borrowing from A.K. Tolstoy, Guy de Maupassant, Anton Chekov, Bram Stoker, and a gang of other suspense writers, Bava directs “The Telephone”, “The Wurdulak”, and “The Drop of Water”. Each is set in a different era and a different part of the world, but they’re all suspenseful and well done.


“I won a cruise?”

In “The Telephone”, Rosy (Michèle Mercier) returns to her stylish flat from a night on the town. As she takes off her evening clothes, the phone rings. Rosy picks it up, but no one answers. Rosy continues to undress and get ready for bed and the phone rings again. Again, no one is on the other end of the phone. After a few calls, a voice begins to taunt Rosy with threats of murder. The caller doesn’t stop and his relentless verbal attacks wear away at Rosy’s nerves. She starts to panic and…haha. I’m not telling. Claustrophobic and tense, “The Telephone” is a nice little heart racer.


“Got your nose!”

The next story, “The Wurdulak”, stars Mark Damon as Count Vladimir D’Urfe, who, seeking shelter in the middle of the night, wanders into a rural family’s cottage. They’re waiting for the family’s patriarch, Gorca (Boris Karloff) to return from his five-day mission to kill the infamous wurdulak, a vampire-like zombie, thirsty for the blood of his loved ones. Gorca promised he’d be back in exactly five days. When he arrives a little after his due date, the family, including the beautiful Sdenka (Susy Andersen) fears Gorca may have gone all wurdulakky. “The Wurdulak” is unpredictable. The story has the potential to go in a few directions which keeps it zipping along.


“I hope I get to strip a corpse tonight.”

“The Drop of Water” focuses on Helen (Jacqueline Pierreux), who gets a call in the middle of a dark and stormy night (Ha!) to go to the home of a dead woman to dress her for her funeral.


“She’s looked better.”

Helen’s a nurse so she’s used to unpleasant duties, but this lady wears a death mask that’d make Jason Voorhees cringe.


“Did I overdo the tanning?”

I imagine they tell nurses not to mess with the dead, but Helen must have forgotten that lesson because she steals a piece of jewelry from the deceased. The rest of the segment looks like what might happen if William Castle and Edgar Allen Poe had a baby. That’s a good thing, in case you were wondering. Of the three stories, this is my favorite.


“I thought I was your favorite!”

Black Sabbath was a nice surprise. It’s a solid horror film from an era full of them and it looks great on the big screen.


“You come on back now, ya hear?”

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Kill Baby, Kill (1966)   Leave a comment

You have to love a film that starts with a woman running out of a decrepit mansion, screaming and impaling herself on a pointy fence.

Dashing Dr. Paul Eswai (Giacomo Rossi-Stuart) arrives at a dreary village in the Carpathian Mountains to perform an autopsy.


“I’m dashing.”

Inspector Krueger (Piero Lulli) wants to find the cause of death of Irena (the impaler) and the villagers are stonewalling him. They can’t or won’t talk about the young woman’s death because they fear the curse, plaguing their village for years, will afflict them too. The doctor performs the autopsy with the help of Monika Shuftan (Erika Blanc), a beautiful science student who happens to be in town visiting her parents’ graves. They’re a cheery bunch.


“I’m not sure we should use this picture for the brochure.”

Meanwhile, the burgomeister (Luciano Catenacci) pretends to help Krueger while simultaneously not telling him anything and conspiring with his lover, sexy witch Ruth (the mesmerizing Fabienne Dali) to insert coins into the hearts of all the corpses. Yeah, I don’t know. Oh, all right. Ruth, places the coins in the victims’ hearts to ward off Baroness Graps’ supernatural powers. The baroness (Giovanna Galletti), who lives in a huge derelict castle that looks like it was decorated by Miss Havisham for her Halloween layout, blames the entire village for the death of her daughter twenty years before.


Ruth

Paul does some sleuthing himself, asking the locals about the curse and trying to convince them that a cold compress is better for a young girl’s fever than wrapping a weird barbed plant around her chest.

More villagers die violently and Paul runs around town getting locked into places and yelling “Monika!” a lot. Monika keeps seeing a little dead girl everywhere and wakes up after a nightmare to find a bald doll on her bed. She tries to hold it together, but the ghost kid keeps appearing and by now the corpses are really piling up.


“I wanted granite.”

I won’t delve too deeply into the plot because I recommend you see Kill Baby, Kill and I don’t want to spoil it for you. It’s a cool, suspenseful film with a few nice scares and solid performances. Paul and Monika make a pretty pair. They’re both likable, intelligent, and not swept away by the hysteria of the townsfolk. Even when Monika is completely terrified, she listens to reason, and I love the way Paul scoffs at the barbaric medical practices of the locals. He’s too logical for this crap, but even he gets a little freaked out when doors start closing on their own.


Nice arm sconces

Kill Baby, Kill has a cool medieval look to it. The dilapidated stone castles give the film a worn-out gothic look that fits in with the idea of a remote town that’s given up. Director, Mario Bava, must have blown the budget on dry ice and cobwebs and he was right to do it. The whole atmosphere lends itself to spooky goings-on. Bava and his cinematographer, Antonio Rinaldi, who also shot Danger: Diabolik and Planet of the Vampires, used the set, including a gorgeous spiral staircase, beautifully.


See?

The scenes with the little ghost girl gazing through windows and bouncing a white ball are wonderful.


Wrong kid.

Kill Baby, Kill is a fun watch. The characters are worth caring about and the story, by Bava, Romano Migliorini, and Roberto Natale, has enough going on to keep you interested. It’s a fun Halloween-y film.

 

 

Black Sunday or The Mask of Satan (1960) 31 Days of Horror   Leave a comment

bsun

Beautiful Barbara Steele glares at her brother. He and his pious cohorts tie Babs and her lover to stakes and plan to warm things up for the accused witches. It’s a great start to an otherwise dull film. She promises vengeance. That’s the plot based on a story by Nikolai Gogol. Many years later the spitting image of the ancient burned witch (Barbara Steele again) is in danger and faints a lot and the big strong men have to save her. Blah blah blah. I know people love this film. I just don’t get it. Mario Bava directed Black Sunday so there is blood, but not much really. The titular masks make an appearance at the beginning as they’re nailed to the witches’ faces, which is pretty cool, and again later, but I have to admit by then I didn’t care.

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I don’t believe you’re Estee Lauder at all!

The characters talked a lot and ran from room to room of their ancestral castle, but other than a large, fake bat’s attacking one of the main characters, I got nothing. Barbara Steele looks great as do her costumes and the sets look appropriately gothic, but the film bored me. Sorry, Mario.

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Hi guys!

Follow @cinemashame on twitter or go to cinemashame.wordpress.com for more 31 Days of Horror reviews.
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