Black Sabbath (1963)
During the first half of the 60’s Mario Bava created several genuine horror classics that remain high-water marks in the genre over a half century later. Films such as Black Sunday (1960), Black Sabbath (1963), The Whip and the Body (1963), and Blood and Black Lace (1964) either pushed the boundaries of horror or helped to establish cinematic tropes still used in modern horror. Always saddled with shoestring budgets and bad deals, Bava nevertheless remained optimistic in the face of his cinematic struggles. A case in point is the troubled production of Kill, Baby…Kill! which ran out of money midway through the shoot. The cast and crew were so loyal to Bava they worked for free to finish the film—a film, by the way, which only had a 30-page script with no dialogue when filming commenced. Bava had the actors make up their own lines, preferring to resolve
Nitehawk Cinema's October Programming Revealed: To learn about the October programming at Brooklyn's Nitehawk Cinema, read the details below or visit them online.
We are in the midst of a horror film resurgence. A significant group of contemporary horror films made in the past couple of years is reminiscent of the socio-political classics of the 1960s and 1970s in that they are boldly confronting the terrifying undercurrent of life today. Like their predecessors, these films tackle class, gender identity, and race in a way that shows us both where we are and how far we,
Directed by Mario Bava.
Starring Giacomo Rossi Stuart, Erika Blanc, Fabienne Dali, and Piero Lulli.
In the early 1900s a remote village is cursed by the ghost of a little girl.
Despite the misleading title, Kill, Baby… Kill! is not a slasher or a giallo but is a Gothic chiller in the same vein as Mario Bava’s earlier supernatural works Black Sunday and Black Sabbath. Set in the year 1907 in a remote village deep in the Carpathians the film begins on a dark and gloomy note as a distressed woman appears to throw herself onto some spiked railings and it doesn’t let up as determined doctor Paul Eswai (Giacomo Rossi Stuart – The Last Man on Earth) arrives to perform an autopsy. However, as is customary in remote villages with an inn and very little else going on, strangers aren’t taken to very easily
While his 1966 movie Kill, Baby... Kill! isn’t always named as being one of Bava’s best, it absolutely deserves to be part of the conversation and is,
Of all his horror films, Shock feels the least like what we have come to expect of a “Mario Bava movie.” While most of his work has an aesthetic and feel that’s very specific to his sensibilities, Shock seems like it could have been made by any number of the Italian horror directors working at that time. This is probably because, as the story goes, the movie actually was made by another Italian horror director working at the time: Bava’s son Lamberto, who co-wrote the screenplay and is a talented filmmaker in his own right, with titles
Details on the Bava screenings can be found below, and to learn more, visit the Quad Cinema's official website.
"The Quad celebrates the Italian maestro of the macabre with a near-complete retrospective of his work—21 titles with 13 on 35mm—plus the U.S. Premiere of a new 4K restoration of Planet of the Vampires
Over the course of more than two dozen features, Mario Bava’s distinctive style developed from baroque manipulation of
Directed by Riccardo Freda & Mario Bava.
Starring John Merivale, Didi Sullivan, Gérard Herter, Giacomo Rossi Stuart, Gail Pearl, and Daniela Rocca.
A group of scientists investigating the disappearance of an ancient Mayan civilisation discover a remnant of an alien species that infects one of their crew.
Caltiki, The Immortal Monster is an Italian sci-fi/horror movie from 1959 that is credited as being directed by Riccardo Freda (The Vampires) but features more than a bit of the handiwork of one Mario Bava, the legendary filmmaker responsible for Gothic horror classics Black Sunday, Black Sabbath and the influential giallo Bay of Blood. In it, a group of archaeologists are investigating what happened to an ancient Mayan civilisation that just seemed to disappear. When one of the crew dives in the pool that is situated inside the ruins of the ancient city a blobby alien entity is awakened,
Region 2 Pal DVD
Terminal Video Italia Srl
1960 / B&W / 1:66 flat letterbox / 103 min. / Street Date June 12, 2011 / available through Amazon.it / Eur 6,64
Starring: Alberto Lupo, Ivo Garrani, Susanne Loret, Sergio Fantoni, Rina Franchetti, Franca Parisi, Roberto Bertea.
Cinematography: Aldo Giordani
Film Editor: Gabrielle Varriale
Makeup Effects: Euclide Santoli
Original Music: Armando Trovajoli
Written by: Gino De Santis, Alberto Bevilacqua, Anton Giulio Majano; story by Piero Monviso
Produced by: Elio Ippolito Mellino (as Mario Fava)
Directed by Anton Giulio Majano
Let me herewith take a break from new discs to review an Italian release from six years ago, a movie that for years we knew only as Atom Age Vampire. Until sporadic late- night TV showings appeared, it existed for us ’60s kids as one or two interesting photos in Famous Monsters magazine. Forry Ackerman steered away from adult films, with the effect that
Now, by no means am I suggesting that Sir Ridley Scott borrowed from Mario Bava (he claimed he never saw Planet beforehand); but I will say that this film also has a giant alien skeleton at the helm of a ship. Regardless of influence (or lack thereof), Planet still plays today due to Bava’s magnificent brushstrokes that drip from every frame.
Planet of the Vampires was also released as (take a deep breath): Planet of Blood, Terror in Space, The Haunted Planet,
[Read the whole post on screenanarchy.com...]
Released by Aip in the Us in October on a double bill with Planet of the Vampires (Bava again), Die rolled out to theatres and drive-ins across the land, but had to wait until February to be released in England under the ghastly
Reviewed by Glenn Erickson
2016 is shaping up as a
Reviewed by Glenn Erickson
The experts say that Mario Bava kicked off the giallo parade with his 1964 Blood and Black Lace
On the eve of the November 1963 release of Twice Told Tales, the British actor Sebastian Cabot would tell a reporter from the Copley News Service, “They’ve been after me to do more of the horror pictures with Vincent Price. I wouldn’t mind that a bit, though I must say I wouldn’t want to do them exclusively.” He intimated that he and his co-star had discussed a possible future pairing in “a light comedy” motion-picture. Alas, it was not to be; the two actors would not work together again. Cabot, of course, would soldier on and enjoy success as both a television personality and a recognizable voice-over actor. Following the passing of Boris Karloff in 1969, Vincent Price would reign as the big-screen’s uncontested “King of Horror.” Cabot’s estimation of Price as an actor “extremely adept” at light-comedy was incisive. Throughout his long and fabled career,
No other actor in the long history of horror has been so closely identified with the genre as Boris Karloff, yet he was as famous for his gentle heart and kindness as he was for his screen persona. William Henry Pratt was born on November 23, 1887, in Camberwell, London, England. He studied at London University in anticipation of a diplomatic career; however, he moved to Canada in 1909 and joined a theater company where he was bit by the acting bug. It was there that he adopted the stage name of “Boris Karloff.” He toured back and forth across the USA for over ten years in a variety of low-budget Theater shows and eventually ended up in Hollywood. Needing cash to support himself, Karloff landed roles in silent films making his on-screen debut in Chapter 2 of the 1919 serial The Masked Rider. His big
In speaking with most of the directors from Tales of Halloween, there was consensus in their feelings about what makes for a great anthology film: singularity of vision and consistency of quality. Both can be difficult to achieve, as the format practically dictates that some segments be stronger than others or express a different voice. But when an anthology can achieve even one of those things, there’s the potential for real horror movie magic.
There are great anthologies made by one filmmaker, among them Mario Bava’s Black Sabbath,
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