Tag Archives: mario bava

Kill, Baby, Kill (1966): Bava’s Gothic Nightmare Still Haunts the Genre

26 Saturday Oct 2024

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In the mid-1960s, Italian horror was coming into its own, with Mario Bava leading the charge as one of its most innovative and visually distinctive directors. Kill, Baby, Kill, released in 1966, is a quintessential example of Bava’s flair for atmosphere and his deep influence on the gothic horror genre. While not as internationally famous as some of his other films, such as Black Sunday (1960) or Blood and Black Lace (1964), Kill, Baby, Kill is nevertheless a vital part of Bava’s filmography, embodying his mastery of gothic aesthetics and surreal terror.

Set in a remote Eastern European village, the film follows a doctor investigating a series of mysterious deaths, all of which seem linked to the vengeful spirit of a little girl. The setting is pure gothic, with crumbling mansions, foggy streets, and a populace gripped by superstition. This is where Bava shines: he brings the village to life with his signature style, crafting a space that feels both ancient and dreamlike. His use of colour, especially the eerie greens and blues that envelop the ghostly apparitions, is a hallmark of his visual style, and Kill, Baby, Kill is often remembered more for its atmosphere than for its story.

The film is one of Bava’s more surreal works, and while the plot may feel thin at times, it’s the atmosphere that captivates. Bava’s camera movements are fluid, often creating a sense of entrapment and disorientation. The haunted imagery, particularly of the ghostly little girl at the center of the story, would go on to influence other horror films, with echoes seen in The Shining (1980) and The Ring (1998). Bava had a way of making the supernatural feel palpable, turning the simplest elements—staircases, mirrors, and windows—into portals of terror.

However, Kill, Baby, Kill suffers from some of the weaknesses that occasionally plagued Bava’s films. The characters are somewhat underdeveloped, and the narrative structure, while serviceable, can feel a little disjointed. The story takes a backseat to the visuals and atmosphere, which works for those who enjoy mood-driven horror but might frustrate viewers looking for a more cohesive plot. That said, the film’s story of cursed towns and retribution from beyond the grave taps into age-old gothic tropes with an eerie effectiveness that lingers long after viewing.

In terms of legacy, Kill, Baby, Kill is a key film in the evolution of supernatural horror. It bridges the gap between gothic horror of the early 20th century and the more modern, psychological horror that would dominate later decades. While it may not be the most famous of Bava’s works, it continues to influence filmmakers who appreciate its slow-burn tension and immersive world-building.

For fans of gothic horror and Italian cinema, Kill, Baby, Kill remains a must-watch. It may not have the star power or narrative complexity of other films in the genre, but its contribution to the atmosphere-driven horror subgenre is undeniable. As Bava’s dreamlike, haunting vision continues to inspire new generations of filmmakers, Kill, Baby, Kill stands as a ghostly reminder of the power of mood in cinema.

  • Saul Muerte

Blood and Black Lace: A Masterpiece of Giallo and Mario Bava’s Vision

02 Friday Aug 2024

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In the realm of horror cinema, few films have left an indelible mark as profound as Mario Bava’s Blood and Black Lace (1964). This cinematic gem is often hailed as a quintessential piece in the Giallo genre, a subgenre of Italian horror that melds mystery, thriller, and often, lurid crime. With Blood and Black Lace, Bava not only solidified his legacy as a master of horror but also elevated the Giallo genre to new artistic heights.

From the opening sequence, Bava’s signature style is unmistakable. The film begins with a hauntingly beautiful scene, drenched in vivid colors and set against the backdrop of a chic fashion house. This juxtaposition of high fashion and brutal murder sets the tone for what is to come—a visual feast where beauty and horror coexist in a disturbingly harmonious dance.

Bava’s genius lies in his ability to marry striking visual artistry with macabre storytelling. His use of color is nothing short of revolutionary. In Blood and Black Lace, the director employs a rich palette of reds, blues, and greens, creating a surreal, almost dreamlike atmosphere. Each frame is meticulously composed, making the film as much a visual experience as a narrative one. This approach not only enhances the suspense but also establishes a vivid, immersive world that is uniquely Bava’s.

The narrative itself is a gripping whodunit, revolving around a series of gruesome murders in a high-end fashion salon. The plot, while engaging, serves as a canvas for Bava’s true focus: the exploration of human depravity and the fragility of beauty. The killer, masked and enigmatic, moves with a chilling grace, embodying the very essence of the Giallo villain—a figure of both allure and terror.

What truly sets Blood and Black Lace apart is Bava’s masterful use of suspense and pacing. The director’s camera glides through the opulent sets, capturing moments of stillness before exploding into violence. This rhythmic tension keeps viewers on edge, never allowing them to settle. Each murder is depicted with a level of brutality that was unprecedented at the time, yet Bava’s elegant direction ensures that the film never veers into gratuitousness.

The influence of Blood and Black Lace on the Giallo genre—and on horror cinema as a whole—cannot be overstated. Bava’s film laid the groundwork for future Giallo masterpieces by directors like Dario Argento and Lucio Fulci. The film’s aesthetic, characterized by its bold use of color, intricate set designs, and stylish violence, became a template for the genre. Additionally, the iconic image of the masked killer would go on to inspire countless slasher films in the decades that followed.

Moreover, Bava’s work in Blood and Black Lace transcends the boundaries of genre filmmaking. The film is a testament to the director’s vision and his ability to elevate horror to an art form. It is a perfect marriage of style and substance, where every element—from the lush cinematography to the eerie score—works in concert to create an unforgettable experience.

The Legacy:

Blood and Black Lace remains a cornerstone of horror cinema, celebrated for its innovation and enduring impact. Mario Bava’s vision, combined with the distinct elements of the Italian Giallo, resulted in a film that is both timeless and influential. It is a masterpiece that continues to captivate and inspire, a shining example of what can be achieved when a director’s artistic vision aligns perfectly with the genre’s potential.

In Blood and Black Lace, Mario Bava did not just create a film; he crafted a visual symphony of horror, beauty, and suspense that stands as a crowning achievement in both his career and the annals of cinema.

  • Saul Muerte

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Black Sabbath

The Whip and the Body

The Whip and the Body (1963): A Sumptuous Visual Feast from Mario Bava

21 Sunday Jul 2024

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Mario Bava’s The Whip and the Body (1963) is a gothic horror masterpiece that exemplifies the director’s unparalleled visual style and meticulous attention to cinematographic detail. This film, a haunting tale of forbidden love and supernatural vengeance, is elevated by Bava’s ability to create a richly atmospheric and visually sumptuous experience, earning it a well-deserved four-star rating.

From the opening frames of The Whip and the Body, Bava’s command of visual storytelling is evident. The film is bathed in a palette of deep, evocative colors, with Bava’s signature use of vibrant reds, blues, and purples creating an otherworldly ambiance. This deliberate color scheme enhances the film’s gothic tone, enveloping the audience in a world where every shadow and flicker of light contributes to the sense of impending doom.

The cinematography, handled by Ubaldo Terzano under Bava’s close supervision, is nothing short of breathtaking. Each shot is composed with an artist’s eye, with careful attention paid to lighting, framing, and camera movement. The interiors of the castle, where much of the film takes place, are rendered in exquisite detail, with the play of light and shadow creating a sense of depth and texture that heightens the film’s eerie atmosphere.

Bava’s ability to create a mood of sustained tension and unease is on full display in The Whip and the Body. The film’s setting—a crumbling, seaside castle—becomes a character in its own right, its dark corridors and candlelit chambers providing the perfect backdrop for the unfolding drama. Bava’s use of mise-en-scène is masterful, with every element within the frame contributing to the overall sense of dread and foreboding.

One of the standout aspects of the film is Bava’s use of close-ups and extreme close-ups to convey the characters’ psychological states. The camera lingers on faces, capturing the subtleties of fear, desire, and madness. This technique not only draws the audience deeper into the characters’ experiences but also heightens the film’s emotional impact.

The film’s sumptuous appeal extends beyond its visual style to its production design and costume work. The opulent costumes, particularly those worn by Daliah Lavi’s character Nevenka, are richly detailed and contribute to the film’s period authenticity. The lavish interiors of the castle, with their ornate furnishings and décor, further enhance the film’s visual splendor.

The Whip and the Body also benefits from a haunting musical score by Carlo Rustichelli, whose compositions underscore the film’s gothic themes and heighten its emotional intensity. The music, combined with Bava’s visual flourishes, creates a cohesive and immersive experience that lingers in the mind long after the credits roll.

The Prognosis:

In The Whip and the Body, Mario Bava delivers a film that is as visually stunning as it is haunting. His meticulous attention to detail, combined with his innovative use of color and light, results in a cinematic experience that is both sumptuous and unsettling. The film stands as a testament to Bava’s genius as a visual storyteller and his ability to craft atmospheres that are rich in texture and emotion.

While The Whip and the Body may not be as widely recognized as some of Bava’s other works, it remains a shining example of his mastery of the horror genre and his unique visual style. For fans of gothic horror and aficionados of classic cinema, this film is a must-see, offering a visual feast that showcases Bava’s unparalleled artistry.

  • Saul Muerte

1960s Retrospective: Black Sabbath (1963)

18 Thursday Jul 2024

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Mario Bava, often hailed as the master of Italian horror, followed his groundbreaking debut Black Sunday (1960) with Black Sabbath (1963), a horror anthology that would cement his reputation as a visionary filmmaker. While Black Sunday introduced audiences to Bava’s unique blend of gothic horror and atmospheric storytelling, Black Sabbath showcased his versatility and innovative approach to the horror genre through a triptych of chilling tales.

Following the success of Black Sunday, Black Sabbath allowed Bava to experiment with narrative structure and thematic diversity. The anthology format gave him the freedom to explore different sub-genres of horror, from supernatural terror to psychological suspense. This film demonstrated Bava’s ability to craft distinct and memorable stories within a single film, each with its own mood and style.

Black Sabbath also marked a pivotal moment in Bava’s career by establishing his signature visual style, characterized by vibrant colors, dramatic lighting, and meticulous set design. This aesthetic would become a hallmark of his later works, influencing not only his own films but also the broader horror genre. Bava’s use of color and composition in Black Sabbath was particularly revolutionary, setting a new standard for visual storytelling in horror cinema.

The Pros:

  1. Diverse Storytelling: Black Sabbath consists of three distinct segments—The Drop of Water, The Telephone, and The Wurdulak. This diversity allows Bava to explore various aspects of horror, from ghostly apparitions to psychological terror and vampire folklore. Each story is self-contained, providing a rich and varied viewing experience.
  2. Pacing and Engagement: The anthology format keeps the audience engaged by offering new characters, settings, and scenarios every 30 minutes or so. This structure prevents the film from becoming monotonous and maintains a high level of suspense throughout.
  3. Showcase of Talent: The format allows actors to shine in different roles and settings. For instance, Boris Karloff, who not only narrates but also stars in The Wurdulak, delivers a memorable performance that underscores his versatility and enduring appeal.

The Cons:

  1. Inconsistent Tone: While the anthology format offers variety, it can also lead to tonal inconsistencies. Black Sabbath navigates between supernatural horror, psychological thriller, and gothic folklore, which might leave some viewers feeling disjointed.
  2. Variable Impact: Not all segments may resonate equally with the audience. For example, The Telephone, with its more contemporary and less supernatural storyline, may feel out of place compared to the other, more fantastical tales. This variability in impact can affect the overall cohesiveness of the film.
  3. Limited Character Development: The short runtime of each segment restricts character development and narrative depth. While each story is engaging, there is less time to build complex characters and intricate plots compared to a feature-length film.

The Prognosis:

Black Sabbath stands as a testament to Mario Bava’s ingenuity and his ability to push the boundaries of horror cinema. The film’s anthology format, while presenting certain challenges, allows for a diverse and engaging exploration of horror that highlights Bava’s creative range. The success of Black Sabbath helped to solidify Bava’s position as a pioneering director in the genre and paved the way for his subsequent works, including Blood and Black Lace (1964) and Kill, Baby, Kill (1966).

As we look back on Black Sabbath, it’s clear that the film’s strengths lie in its visual style, varied storytelling, and atmospheric tension. Despite some tonal inconsistencies and limited character development, Black Sabbath remains a seminal work in horror cinema, demonstrating Mario Bava’s enduring influence and his mastery of the craft.

  • Saul Muerte

1960s Horror Retrospective: Black Sunday (1960)

06 Monday May 2024

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The Birth of Baza

As I began my retrospectives of the 1960s horror era, part of my excitement centred on the Master of Italian Italian Horror and pioneer in the Giallo scene, film director Mario Bava. He led the way and inspired so many filmmakers with his visual style, particularly for his use of colour that would leave a lasting legacy on the genre. This all started in earnest with his solo directorial debut, the Gothic horror starring Barbara Steele, Black Sunday. That’s not to say he was a stranger to the celluloid art, having crafted a career since the late 30’s in many guises that would lead him to becoming a cinematographer to harness his voice and vision, come the release of Black Sunday.

Loosely based on the short story Viy by Nikolai Gogol, that was a passion project of Bava and one he had a close liking to having told the story numerous times to his own children before they went to bed. It’s little wonder that his own son Lamberto Bava would follow in his father’s footsteps and direct horror films. 

Black Sunday is a tale of vengeance and retribution and is most predominantly remembered for its shocking opening scene. Asa (Steele) and her paramour, Javutich are accused of sorcery and sentenced to death. Part of their sentence involved being placed in bronze masks with spikes on the inside and having them hammered in place over their face.

Two centuries later her preserved corpse is reanimated and in order to be fully resurrected, Asa must possess the body of her look-alike descendant Katia. Will she succeed? Can love prevail?

Also starring John Richardson before he was cast in Hammer’s She, and One Million Years BC, as the love interest. Black Sunday is held in high esteem because of some of its imagery, such as the afore-mentioned opener and maggots crawling out of an eye socket in another scene, but it’s also the decision to shoot in black and white, monochrome with a richness to it that both arcs back to the films of Universal that had initially paved the way for horror on screen, but also bridges the gap to the future and how the genre would be shaped. It would launch Barbara Steele’s career, especially in horror for classic films such as The Pit and the Pendulum, and The Horrible Dr Hichcock. For Bava, he would mould his movies over the following decade and cement his name in history. 

– Saul Muerte

Retrospective: The Whip and the Body (1963)

29 Tuesday Aug 2023

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1963 would prove to be an instrumental year for the Master of Macabre, Mario Bava. Having kick started with the giallo flick The Girl Who Knew Too Much, before teaming up with Boris Karloff for the horror anthology Black Sabbath, he would round things off with the stylised and sadomasochistic film starring Christopher Lee called The Whip and the Body.

A somewhat convoluted tale, Lee stars as Kurt Menliff, a man who has been kicked off the family will because of his relationship with a servant girl, who committed suicide. When Menliff returns to reclaim his title, he is later found murdered, but mysterious sightings lead locals to believe that he has returned as a ghost to seek vengeance. 

The Whip and the Body is probably most known for its sadomasochistic themes that dominate through the middle period of the film, causing Italian censors to slap an 18 rating on it, only for it to be seized for charges of obscenity. The movie would be heavily cut down for American and British audiences along with being heavily dubbed by none of the original actors, which then demolished any clear narrative, reducing it to a complex mess.

There are some genuinely interesting scenes on show, but due to the nature of its release, the film is pale in comparison to the other two movies that Bava released that year, despite being at the peak of his filmmaking. 

Despite all this, Bava still manages to capture his visual style, working alongside cinematographer Ubaldo Terzano once more having previously combined for Black Sunday. Lee too provides a magnanimous presence on screen that proves he was born to be a leading man.  

  • Saul Muerte