| Photos (See all 13 | slideshow) |
| Claudine Auger | ... | Renata | |
| Luigi Pistilli | ... | Albert | |
| Claudio Camaso | ... | Simon (as Claudio Volonté) | |
| Anna Maria Rosati | ... | Laura (as Anna M. Rosati) | |
| Chris Avram | ... | Frank Ventura | |
| Leopoldo Trieste | ... | Paolo Fossati | |
| Laura Betti | ... | Anna Fossati | |
| Brigitte Skay | ... | Brunhilda | |
| Isa Miranda | ... | Countess Federica Donati | |
| Paola Montenero | ... | Denise (as Paola Rubens) | |
| Guido Boccaccini | ... | Duke | |
| Roberto Bonanni | ... | Robert | |
| Giovanni Nuvoletti | ... | Count Filippo Donati | |
| rest of cast listed alphabetically: | |||
| Renato Cestiè | ... | Renata and Albert's Son (uncredited) | |
| Nicoletta Elmi | ... | Renata and Albert's Daughter (uncredited) | |
Directed by | |||
| Mario Bava | |||
Writing credits(in alphabetical order) | ||
| Franco Barberi | story | |
| Mario Bava | screenplay | |
| Filippo Ottoni | screenplay | |
| Dardano Sacchetti | story | |
| Giuseppe Zaccariello | (screenplay) (as Joseph McLee) | |
Produced by | |||
| Giuseppe Zaccariello | .... | producer | |
Original Music by | |||
| Stelvio Cipriani | |||
Cinematography by | |||
| Mario Bava | |||
Film Editing by | |||
| Carlo Reali | |||
Production Design by | |||
| Sergio Canevari | |||
Art Direction by | |||
| Sergio Canevari | |||
Costume Design by | |||
| Enrico Sabbatini | |||
Makeup Department | |||
| Adalgisa Favella | .... | hair stylist | |
| Franco Freda | .... | makeup artist | |
Production Management | |||
| Roberto Cicutto | .... | production supervisor | |
| Fernando Franchi | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Lamberto Bava | .... | assistant director | |
Sound Department | |||
| Carlo Diotallevi | .... | sound recordist | |
| Gene Luotto | .... | post-synchronization | |
| Carlo Tarchi | .... | sound | |
Special Effects by | |||
| Carlo Rambaldi | .... | special effects (as Rambaldi) | |
Camera and Electrical Department | |||
| Gianlorenzo Battaglia | .... | assistant camera (as Lorenzo Battaglia) | |
| Emilio Varriano | .... | camera operator | |
| Franco Vitale | .... | still photographer | |
Music Department | |||
| Luca di Silverio | .... | soundtrack album producer | |
Other crew | |||
| Patrizia Zulini | .... | continuity | |
| Pino Locchi | .... | voice dubbing: Claudio Camaso (uncredited) | |
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| Torso | The Cat o' Nine Tails | Giornata nera per l'ariete | The Bird with the Crystal Plumage | Deep Red |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Horror section | IMDb Italy section |
Many films on the Video Nasty list are horror cinema's answer to well-respected classics; The Last House on the Left offers a new spin on Ingmar Bergman's The Virgin Spring, Island of Death is a more brutal telling of the story of Bonnie and Clyde and, indeed, this Mario Bava film owes its plot to the French classic, La Ronde. Bay of Blood is often noted as being an obvious inspiration on the Friday the 13th series, and when taking things such as the setting and a certain murder sequence into account, that is certainly true; but let's not forget that this is also a fantastic movie in its own right. The film starts off with a glorious sequence that opens inside a beautiful manor house. We watch as a wheelchair-bound baroness is brutally strangled, only for the rug to be torn from under us moments later when her assailant is the next one to bite the bullet! It has to be said that the film never tops its opening sequence, but Mario Bava's gore-fest manages to remain fascinating all the way through, as it turns out that the first murder scene sets off a violent chain of events that results in a very high body count.
This film would be properly categorised as a slasher, but its Italian roots ensure that it's often labelled a Giallo, and indeed Mario Bava does include Giallo elements; from black gloved killers and an array of odd characters, all the way to an amazingly convoluted plot. Indeed, the storyline here gets so complicated at times that it's liable to give the viewer an extreme headache, but Bava is always on hand with another glorious murder scene, and as the film features thirteen deaths in it's eighty one minute running time - there's certainly no lack of the red stuff. Bava ensures that the murders are suitably varied, and we get treated from an array of methods of dispatch, including axes, a spear through a lovemaking couple and an excellent scene that sees someone skewered to a wall. Mario Bava's eye for detail doesn't wane with this film, as despite being a grisly slasher; there's still more than enough time for beautiful scene setting. The bay itself looks great and excellently lends itself as a location for savagery, while the decors of the character's homes are elaborately Gothic. With the pitch-black ending, the director shows us that the film isn't meant to be taken seriously, and overall, Bay of Blood is both influential and a great time - and therefore shouldn't be missed by horror fans.