|Page 1 of 5:||    |
|Index||47 reviews in total|
Man, I love Mario Bava's work! Every film I've seen of his is a pure
masterpiece in my eyes and a complete cinematic orgasm'! Hatchet for the
Honeymoon is somewhat different compared to most of his other movies and
perhaps even his most accessible film. Hatchet handles about a more common
horror theme (namely a serial killer and his motivations) but in the very
first place it is another Bava-omnibus of stylish direction, wonderful
music, beautiful scenery and a unique, tense atmosphere. Bava never ceases
to surprise me
I find it truly remarkable how this director is able to
portray such ugly things (murder, insanity, aggression
) in an artistic way!
Also, the film is far ahead of its time with the portrayal of a horrible
murderer as a classy and intelligent businessman. Stephen Forsyth is
brilliantly cast as John. He owns a fashion gallery in Paris, specialized in
wedding dresses and there are a lot of models working for them. He urgently
wants to divorce his wife because he despises her, but she won't let him.
Like it's the most normal thing in the world, John confesses to the audience
that he's a multiple murderer
' A woman should only live till her wedding
day', he says, `love once and then die'! Forsyth was a genius choice to play
John; he's handsome and extremely charismatic but also very frightening and
morbid-looking at the same time. John is aware that he's sick, yet he can't
control the urge to kill again. The second half of the film is even more
brilliant, with a perfect image of a man stuck in a downwards spiral of
insanity. Actually, what Bava does here, is single-handedly changing the
rules of the giallo! The identity of the killer is exposed right from the
beginning, yet there are numerous other aspects to discover about his
like what was the origin of his hunger for violence and misery?
Hatchet for the Honeymoon isn't the director best film (that honor goes to Black Sunday, without a doubt) but it still is a perfect score of 10 out of 10 in my book. I can only bring forward one negative aspect and that is like usual the annoying dubbing. Definitely also worth a mention: the beautiful female leads (and side-characters) in Hatchet. Dagmar Lassander is the stunning beauty that also appeared in Fulci's House by the Cemetary. Femi Bunissi plays another one of John's victims. I didn't know her, but she certainly is a gifted and gorgeous lady. Enter the world of Mario Bava as soon as possible! You won't regret it!!
In the late sixties Bava began reinventing the murder mystery formula he single-handedly created with films like THE GIRL WHO KNEW TOO MUCH and BLOOD AND BLACK LACE. In this film you know from the start who the killer is and so this film becomes a look into the crazed mind of a guy with childhood trauma who kills women. There's a great experimental score, cool fashions and a dance nightclub sequence for all you Sixties kitsch fans out there. Stephen Forsyth gives a great wide-eyed psycho performance and Bava forsakes his usual stylishly colored lighting for dreamy surreal imagery during the murder scenes. Bava even sticks in scenes from his earlier films on a TV as an in-joke for his fans.
Interesting, complex look at a man who must kill young brides in order to unlock the secret of who killed his own mother. With each hacked bride, the main character of Harrington sees more and more of his terrible childhood memory when he saw his own mother axed. The acting in this film is nothing terribly special, nor is the story, but Bava'a direction is a visual treasure to behold. As always, he makes the most he can with the camera lens. Some of the shots are inspiring as Bava directs our attention through small orifices sometimes like a small window. His use of a room with mannequins is very effective too. Bava even has fun with his little joke of having Harrington watching Bava's own Black Sabbath on television when having just killed his wife he is visited by the police. Style and visual artistry ripen all around only to be harvested by Bava's gluttonous camera lens. The plot, although missing huge pieces of coherence and logic, is fairly well-crafted. The acting is adequate. I particularly liked the actress that played Harrington's vitriolic wife and the character of the police inspector.The sense of the sixties and fanciful colours pervade almost every scene, and the soundtrack is very suitable to this material. For some horror fans, the film may seem somewhat slow, but it kept my interest throughout.
*** This review may contain spoilers ***
John Harrington (Stephen Forsyth) is a real sick-o who hacks up
brides-to-be with a "hatchet" (actually what we here in the U.S. would
call a meat cleaver). We hear John's thoughts ("The fact is, I'm
completely mad!") and flashbacks reveal that John killed his own mother
because his disapproved of her new lover. He lives in a mansion with
his older, wealthy, bitter, controlling witch of a wife (Laura Betti),
who is obsessed with the occult and returns as a nagging ghost after
John offs her. The victims (models who work for John's wedding dress
company) are lured to a secret room full of mannequins.
Stylish, bizarre touches, some humor, a few effective shocks and Bava's always creative and colorful direction make this rewarding viewing for horror fans OR people just interested in learning how to enliven a stale plot through audacious presentation. However, since the killer's identity is evident from the beginning, there's little suspense and mystery to the story and the American release is, needless to say, poorly dubbed. Despite that, it's still a fun, entertaining film and I recommend it.
Handsome bridal shop owner is troubled by mysteries from his childhood
which seem to drive him to murder brides-to-be. However he may have
other problems after the ghost of his vindictive wife starts to haunt
Hatchet for the Honeymoon is one deliciously strange and darkly comical chiller from the great Mario Bava. As usual Bava's direction is excellent and inventive; particularly the dynamic camera-work and vivid imagery. The story is quite compelling as it goes against the norm and takes the killer's point of view and makes us surprisingly sympathetic toward him. The plot also takes some nicely off-beat twists as it brims with moments of macabre humor, sharp suspense, and some touches of dream-like surrealism. In addition the music score of Sante Maria Romitelli is jazzy and quite beautiful at times; a nice contribution to the colorful cinematography.
The cast is fairly solid too. Star Stephen Forsyth does a wonderfully brooding performance and makes his psychotic character strangely likable (one wonders if Bret Easton Ellis saw this film before writing American Psycho). Forsyth is perfectly matched by co-star Laura Betti, who does a fiendish performance as Forsyth's domineering wife.
Hatchet for the Honeymoon is a real treat for fans of Bava and the giallo genre, or those that just enjoy odd-ball horror films. It's one of Bava's most interesting works and remains perhaps the most overlooked of his films.
*** 1/2 out of ****
I say strange because I'm not quite sure what exactly "Hatchet for the
Honeymoon" was supposed to be (but enjoyed it nonetheless). It features
many of the traditional giallo elements - a black-clad killer, lots of
beautiful young women who may as well have "Murder Victim" tattooed on
their foreheads, incompetent detectives, childhood psychological
trauma, spooky childhood toys... Yet it also diverges from the giallo
blueprint in some ways by incorporating an odd, Twilight Zone-style
supernatural element into the plot, and also a wry commentary on
bourgeois married life. There are clear elements of both Psycho and
Peeping Tom in the story, and it also predates both the 1980 slasher
film He Knows You're Alone, and the Bret Easton Ellis book (and later
film) American Psycho.
As usual with Mario Bava, the cinematography, production design and lighting are all beautiful to look at, and there are two great suspense set-pieces: the scene where the killer waltzes with his next victim to the eerie tune of a music box in a shadowy, elegant store-room full of creepy plastic mannequins in wedding dresses; and the scene where he talks to the suspicious cop while his dead wife's arm is hanging from the staircase and dripping blood onto the carpet.
It's also a surprisingly funny film in many ways. Special mention must go to Laura Betti's hilarious performance as Mildred, the evil wife from hell.
All in all, "Hatchet for the Honeymoon" is an intriguing and often underrated addition to Mario Bava's formidable canon. Stylish, entertaining and darkly funny.
Very stylish tale plotwise reminiscent of Hitchock's _Psycho_, albeit with some fantastic twists. The films edits and distortions are fascinating, as is the cheeky main them that is frequently repeated. There is also a disco source track and a waltz among the main musical motifs. John Harrington's relationship with his wife and mother is explored in bizarre supernatural ways that have never (to my knowledge) been imitated. Despite its superficial resemblance to _Psycho_, including Harrington's driving motivation, the film is astonishingly original, handled in a completely different manner, with a completely different mystery. While _Psycho_ was an attempt by Hitchcock to improve on Hammer horror, Bava takes a main idea from Hitchcock and twists it into something possibly even greater than its clear inspiration.
It seems that the 70's is a rather under-appreciated decade for Mario Bava, as it is usually overshadowed by his 60's cannon, with films such as "Black Sunday" or "Black Sabbath". Still, his 1974 film "Lisa and the Devil" is what I consider his masterpiece; 1972's "Baron Blood" is a great old-fashioned Gothic classic; 1971's "Twitch of the Death Nerve" is mindless gory fun; "Shock" is a simple-yet-effective ghost story; and last but not least, there is "Hatchet for a Hooneymoon". Usually depicted as one of Bava's weaker efforts, "Hatchet..." is as influential as "Kill Baby Kill" or "Twitch...", as seen in such critically-acclaimed works as "American Psycho" or "Santa Sangre". Here, we have Bava's ever-present visual flair, combined with a fresh Scroogesque twist on the typical giallo formula. The script is intelligent and gripping, filled with some interesting Freudian motifs represented mostly through the protagonist's doppelganger, as well as including some well-developed and complex characters that you really care for. The charismatic Stephen Forsyth is perfectly cast as the protagonist, and is as seductively creepy as he needs to be. Laura Betti is also terrific as his cold, manipulative wife. Interestingly, Bava seems to play homage to the other great Italian director - Federico Fellini, as he does his own 'La Dolce Vita'-type satire of the plastic Italian high-society in this film. The film also has some of the most beautiful and lyrical scenes of Bava's entire career, both visually and in substance, such as John's 'danse macabre' in the room full of mannequins. These moments blend magnificently with Sante Maria Romitelli's bittersweet score, which captures the film's melancholic tone and perverse humor. The one thing that may put some viewers away is the lack of violence which doesn't really hurt the whole thing, but doesn't add anything to it either. Overall, a mesmerizing combination of ghost story with gialli, that is definitely not to be missed by any fans of the Maestro or Italian horror cinema in general.
The man who brought you such successful chillers as "5 Dolls for an
August Moon" , ¨Operazione Paura¨ ,¨Black Sabbath¨ , "Six Women for the
Murderer" , ¨The Evil Eye¨ goes back in this nice film that packs great
cinematography , impressive spectacle and well staged killings . It
begins developing an elaborate animated collage for the film opening
credits , being originally created by the great Mario Bava . The flick
deals with a respected fashion mogul who runs a house of style where
happens several bloody murders and gruesome executions . As a bridal
design shop owner called John Harrington (Stephen Forsyth) kills
various young brides-to-be (Femi Benussi) in an attempt to unlock a
repressed childhood trauma that's causing him to commit murder . John
contracts a new fashion model , that person ultimately being Helen Wood
(Dagmar Lassander) , who eventually gets a little too close for his
comfort . Harrington is facing further torment in the mutually
unsatisfying marriage to Mildred (Laura Betti , originally the script
didn't include the role , it was only after expressed interest in
working with Bava that the director re-wrote the script so that Betti
could have a suitable starring) who subsequently to return to haunt him
as a ghost . Meanwhile , a police inspector named Russell (Jesus
Puente) investigates the strange killings , being his prime suspect
Harrington . When Russel enters Carrington's home , the latter tells
the screams heard are caused by the television set (the TV show that
Harrington refers to in an attempt to fool Inspector is a clip from
Mario Bava's own Black Sabbath (1963) - specifically the "Wurdalak"
sequence featuring Boris Karloff) .
Mario Bava strikes again in this mysterious and grisly picture with haunting atmosphere , colorful photography and strange musical score . Bava's great success (the first was ¨Black Sunday¨ or ¨Mask of Demon¨)is compellingly directed with startling visual content . This frightening movie is plenty of thrills , chills , high body-count and glimmer color in lurid pastel with phenomenal results . Interesting screenplay filled with twists , turns and rare situations by prolific Santiago Moncada , an usual playwright . This is a classic slasher where the intrigue , tension , suspense appear threatening and lurking in every room , corridors and luxurious interior and exterior . Nice as well as twisted acting by Stephen Forsyth as a psychotic killer who manages a model house . This genuinely mysterious story is well photographed by the same Mario Bava with magenta shades of ochre , translucently pale turquoises and deep orange-red . Filmed on location in Barcelona , Harrington's villa , Rome , Paris and studios Alfonso Balcazar . The Spanish villa that the majority of the film was shot at was formerly the touristic home of Spanish dictator Generalissimo Francisco Franco .
The movie well produced by Manuel Caño belongs to Italian Giallo genre , Bava (¨Planet of vampires¨, ¨House of exorcism¨) along with Riccardo Freda (¨Secret of Dr. Hitchcock¨ , ¨Il Vampiri¨) are the fundamental creators . In fact , both of whom collaborated deeply among them , as Bava finished two Fedra's films ¨Il Vampiri¨ and ¨Caltiki¨ . These Giallo movies are characterized by overblown use of color in shining red blood , usual zooms and utilization of images-shock . Later on , there appears Dario Argento (¨Deep red¨, ¨Suspiria¨,¨Inferno¨), another essential filmmaker of classic Latino terror films . Rating : Good, this is one more imaginative slasher pictures in which the camera stalks in sinister style throughout a story with magnificent visual skills.
*** This review may contain spoilers ***
Mario Bava was quite possible the best filmmaker for doing something quick and cheap. Sometimes to great effect(Kill Baby Kill, Rabid Dogs) & bad(Dr. Goldfoot & the Girl Bombs). Fotunately, there are a lot more good than bad. This one however, is probably his greatest achievement, maybe not his greatest movie though. It gets better each time you watch it. Where the 1st time was maybe a 6 now its a 9. There is just so much attention to detail in it. It Plays out more like a black comedy than an actual slasher film. The story is predictable, about a psychopath who must keep on killing brides to find out who killed his own mother, but the story is not really that important what is is Bava's use of a camera. Its all over the place here. Great stuff.
|Page 1 of 5:||    |
|Plot summary||Plot synopsis||Ratings|
|External reviews||Plot keywords||Main details|
|Your user reviews||Your vote history|