The Virgin of Nuremberg (1963)

The Virgin of Nuremberg was a medieval torture device that most of us know as the Iron Maiden. It was an upright sarcophagus with metal spikes on the inside. The victim was tied inside and when the doors were shut their body would be penetrating with the strategically placed spikes. These spikes were designed to not penetrate any vital organs, therefore extending the agony of the victim and ensuring they died a slow death.

In The Virgin of Nuremberg (aka Horror Castle), a 1963 film directed by Antonio Margheriti, this torture device plays an integral part of the plot. Max (Georges Rivière) and Mary (Rosanna Podesta) Hunter are staying at a castle in Germany Max has inherited. One night, Mary is awoken with screams…and sees a mysterious figure in a red cloak kill a maid. It seems that the original owner of the castle has returned…and is back killing innocent victims with the castle’s old torture instruments! Who is this madman, what are his ties to the Hunters and how can he be stopped?

The Virgin of Nuremberg is a decent gothic horror tale. While not as good at Margheriti’s later effort Castle of Blood, it is still an elegant and atmospheric film. Plus, Christopher Lee stars in a small role as the castle’s disfigured man-servant!

The story of the castle’s owner and his sordid history were interesting. You were never quite sure whether he was back from the dead or if it was just someone posing as him, which kept me in suspense until the final “unveiling” of the killer (whew, and what an unveiling it is!). The castle’s inhabitants and servants also did a nice job of creating enough red herrings to keep me guessing. The character of Rosanna wasn’t that developed, but Podesta did a good job of playing the stereotypical “damsel in distress” in her white flowy nightgowns that faints away at any sign of trouble.

The setting of the big, dark castle was appropriately creepy and I especially liked the shadowy torture room filled with steel cages, surgical implements and various torture devices. The eye-popping color red is used throughout the film (as accent colors in rooms as well as the killer’s red robe and, of course, the blood!) and really pops against the rest of the dark castle. The gothic visuals really add to the film’s ambiance and made me enjoy it even more.

Quite a bit of blood is spilled in the film, surprising for its time. It is certainly not a gorefest, but there are some nice deaths throughout the film. Memorable scenes include a woman with her eyes gouged out impaled within the ubiquitous iron maiden, a cage with a hungry rat inside place over a living woman’s head and, as previously mentioned, the unveiling of the killer.

The Virgin of Nuremberg is a stunning Italian gothic horror film and while it isn’t appreciated as much as other films in the genre, I believe it definitely deserves a look!

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Bunny Lake is Missing (1965)

In this stylish and tense ‘60s British mystery, young mother Ann (Carol Lynley) has just moved to London to be with her brother Steven (Keir Dullea). Her young daughter, Bunny, goes missing after Ann drops her off at her first day of school, but no one even remembers seeing the child. Steven is overprotective of Ann and immediately blames the school, but when the police become involved Detective Newhouse (Laurence Olivier) can’t seem to find any evidence to show that Bunny ever existed.

I’d heard of Bunny Lake is Missing on and off for years, but never checked it out before now. I’m not sure why I waited this long, because it’s a fantastically tense and well-done thriller that still holds up to this day!

The audience is continually held in suspense because we’re never quite sure whether Bunny is real and missing or if she is just a product of Ann’s imagination. Director Otto Preminger does a fantastic job of keeping us in rapt attention as Ann tries to retrace her steps to prove that Bunny is very much a real person. The mystery is heightened by the shadowy black-and-white that gives it a noir feel and the stunning chiaroscuro photography (I especially love the sinister and suspenseful sequence at a doll shop that changes everything!). All in all, the film is beautifully filmed and additionally gives us a nice peek at ‘60s London.

The acting by Carol Lynley as Ann is brilliant. She is continually standing up for herself, asserting that she isn’t crazy and that Bunny really does exist, but she does this with just a shred of doubt so that the audience isn’t quite sure it can trust her. Keir Dullea was also great as the concerned brother who wanted to blame everyone but Ann. He had great intensity in the role and it was hard to take my eyes off him whenever he was in a scene! The legendary Laurence Olivier did a serviceable job as the detective, but this character didn’t seem like much of a challenge for him and his performance feels phoned in. That’s okay, though, as the real star of the show is Lynley and all her frenetic and frustrated energy as Ann!

Now, I don’t want to spoil the ending for anyone, but it’s a doozy! I certainly didn’t see it coming, though as it gets nearer to the conclusion it becomes a vague possibility. The reveal is perfectly timed so when it does happen you are left momentarily shocked and then immensely satisfied. The ideal way to end a film, no?

I was surprised watching Bunny Lake because of how tense and intense of a film it is – especially since before watching I’d heard claims of its campiness. However, I found no evidence of camp, but just a straightforward thriller that kept me on my toes. Though it is regarded as a cult classic, I believe Bunny Lake is Missing deserves a much wider audience and would fit in nicely with other classic psychological horror.

If you are into classic horror mysteries with plenty of twists and turns, I highly recommend checking out Bunny Lake is Missing, an underrated psychological thriller.

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Mad Monster Party (1967)

Looking for something ooky and spooky to watch this Halloween? Look no further than the kooky Mad Monster Party! Created by the same folks that brought you stop-motion animation Christmas specials like Rudolph, the Red-Nosed Reindeer, Mad Monster Party is a howling good time for the whole freaky family!

After finding the secret of life, Baron Von Frankenstein (voiced by Boris Karloff) has finally discovered the secret of destruction (“I, Baron von Frankenstein, master of the secret of creation, have now mastered the secret of destruction”)and is inviting all his favorite monsters to his castle for a celebration! He also plans to announce that he is retiring and bequeathing all his secrets to his (gasp!) human heir, the clueless Felix Flanken (voiced by Allen Swift, who also voiced most of the monsters). The Baron’s assistant, lovely redheaded Francesca (voiced by Gale Garnett), doesn’t take too kindly to the news. She and the other monsters, including Dracula, Frankenstein’s Monster and his Mate (voiced by Phyllis Diller), The Wolf Man, The Mummy, The Invisible Man, Dr. Jekyll/Mr. Hyde, The Hunchback, The Creature from the Black Lagoon and so on, plan on taking Felix out before he inherits the Baron’s secrets!

Mad Monster Party is a mad, mad, mad little movie that is a joy to watch around Halloween! With newly restored editions, I really think they should play this on television around Halloween just like they play all of the other stop-animation movies around Christmas! It’s got some spiffy musical numbers, lots of adult humor and overall just looks amazing!

The character design is amazing, especially considering how many monsters are running around. Besides those mentioned above, there is also the hilarious Chef Mafia Machiavelli (“Here we have the antipasto – black widows pickled in their own poison, smoked lizards and snakes, and marinated mice.”), Yetch, the creepy, Peter Lorre-inspired servant (Yetch: “It’s me, your Don Juan.” Francesca: “I Don Juan to look at you”.), a groovy skeleton band called Little Tibia and the Fibulas (“It’s the mummy!”) and, of course, the uninvited It that crashes the party later in the film!

The scope of the film is very ambitious, and seems much bigger than other Rankin/Bass productions like The Year Without Santa Claus or Rudolph, The Red-Nosed Reindeer. The setting of Baron Von Frankenstein’s towering castle, with its crocodile-filled lagoon and man-eating flora and fauna, is absolutely stunning and really invokes nostalgic feelings from childhood, especially when accompanied by the stop-motion animation! This is definitely one for the spooky kid in all of us!

If you are looking for some light-hearted fare this October, Mad Monster Party is one classic film to check out! Even though they slip some decidedly adult humor in there, it is still suitable for young tots, too! Anyone looking to regain some Halloween spirit should definitely watch Mad Monster Party – it never fails to put me in a kooky mood!

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The Premature Burial (1962)

The Premature Burial is the only Roger Corman film based on an Edgar Allen Poe story that does not feature Vincent Price in the lead role. Before principal photography started, Corman had a spat with American International Pictures, the studios responsible for the rest of Corman’s Poe pictures. Corman decided to take The Premature Burial to another studio, but because Price was in an exclusive contract with AIP, the lead went instead to Ray Milland. Before filming began, though, AIP re-acquired the production.

The Premature Burial is certainly not the best film from Corman’s Poe period, but that is definitely not due to Milland replacing Price. The story itself seems stuffy and dragged out, and not even the stunning gothic visuals can save it.

The film tells the tale of wealthy Guy Carrell (Ray Milland), a man obsessed with his fear of being buried alive. He is convinced that his father suffered from catalepsy (a catatonic-like state where one appears dead and has no reaction to stimuli, but in actuality is still alive) and was buried alive. Furthermore, he believes catalepsy runs in the family and that he will end up just like his father. His sweetheart, Emily Gault (Hazel Court), convinces Guy to marry her even though he suffers from these peculiarities and his sister, Kate (Heather Angel), disapproves of Emily.

For a while, Guy appears okay until strange circumstances surrounding his mansion force him to face his old phobia. He then constructs an elaborate mausoleum with enough bells and whistles to allow him to escape and alert people should he be interned while still alive. Emily and her doctor friend, Miles Archer (Richard Ney) convince Guy that his behavior isn’t healthy and make him destroy the tricked-out mausoleum. Soon after, Guy suffers a heart attack after a distressing discovery…is he really dead or will he be buried alive?

As stated above, The Premature Burial is definitely not the best Roger Corman had to offer during his Poe period of filmmaking. Overall, it’s a bit drab and boring compared with his other films like The Masque of the Red Death. The story doesn’t capture the terror of Poe’s original story and even devolves into silliness most of the time.

The best part of the film certainly involved the unveiling of Guy’s fool-proof mausoleum. Should he be buried alive, the crypt featured a collapsible coffin, a way to unlock the front door, a rope ladder up to the roof, a large bell to alert others of his presence, food, alcohol and even poison as a last resort! This was definitely a pimped out palace of the dead! The rest of the film just dragged, though, and the “reveal” ending really made no sense, especially since there was absolutely no mention or even suggestion of it throughout the rest of the film. The last few minutes felt very tacked on and unnecessary.

As for the actors, they did a commendable job moving through the stiff story. Ray Milland is certainly no Vincent Price, but he played a wonderful Guy and really made his phobia believable. Hazel Court, a regular in Corman’s flicks, also did a good job as the concerned wife Emily, even if the script gave her little to do but run after her husband and nag at him all the time.

The atmosphere of fog-shrouded cemeteries, eerie woods and a stuffy mansion was wonderful, but just wasn’t enough to support the entire film. Though I loved the scenes in the graveyard, in the woods and in the crypt, the gothic visuals just weren’t enough to make The Premature Burial a film worth watching again.
The Premature Burial certainly isn’t a horrible film, but it doesn’t have the same heart and spirit that many other Corman flicks from his Poe heyday have. You’ll find yourself wishing that the movie would prematurely end if you find yourself watching it!

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The Masque of the Red Death (1964)

The 1960’s brought us a plethora of Edgar Allen Poe stories that were adapted for the screen. Behind these was the “King of the B’s” Roger Corman, who brought audiences Poe titles like The Fall of the House of Usher (1960), The Pit and the Pendulum (1961), The Raven (1963) and, of course, The Masque of the Red Death. The Masque of the Red Death is arguable the best of Corman’s Poe adaptations. It is an ambitions film, featuring lavish sets, period costumes, Bacchanalian indulgences and a strong performance by the prince of horror himself, Vincent Price. Though the film takes a few liberties with Poe’s original story, namely adding some Satanism to the mix, it remains fairly faithful to the short story and certainly stands heads above other Corman films.

Prince Prospero (Vincent Price) is a wicked ruler, leaving the peasants to die from a strange plague called the Red Death that is sweeping the land while he and his noble friends wall themselves up in his castle. They ignore the outside world and indulge in every kind of debauchery available while breaking all the seven deadly sins of greed, gluttony, lust, sloth, envy, pride and even wrath. Prince Prospero is a Satan worshipper, though, and enjoys watching the corruption of his guests. He is baffled by peasant Francesca’s (Jane Asher) steadfast faith, and is determined to corrupt her pure spirit. Meanwhile, the Red Death creeps closer and closer to the castle, and no amount of brick and mortar or weapons can keep Death away.

The Masque of the Red Death is one of my favorite Poe stories, and Corman’s film is like watching it come alive. The stunning visuals and vibrant colors are all captured in the film. I especially liked the set design and how the different colored rooms in Prospero’s castle were presented. The contrast of light and dark is well represented within the visuals of the film; even the order of the rooms goes from bright to dark to bright to dark again. The good vs. evil theme was supported by the color schemes, including the fact that Francesca wore white in her first appearance of the castle and Prospero’s garb was always dark.

Besides the obvious color symbolism, the medieval and gothic visuals are striking. This is one of Corman’s most colorful films, and the large palette used seems decadent and sinful in itself! The bright, bold interiors of the castle are quite a contrast to the bleak peasant village and fog-shrouded countryside. The theme of class struggle within the film can be seen not only in the actions of the nobles, but also in the gaudy colors they parade around in. Of course, all, both peasant and noble, are made equal by the Red Death! This is another theme the film explores. It doesn’t matter what you believe or how much money you have because no one escapes death.

Moving on from the abundant themes found within the film, I must say that Vincent Price’s performance as the cruel Prince Prospero is a joy to watch! He is absolutely perfect as the villain, even forcing his guests to behave like animals at one point!! He does everything for his own amusement and entertainment and his lavish, non-stop ball is just a means for him to further corrupt his guests. His cold, detached demeanor makes you shiver in anticipation, but his maliciousness makes you want to keep watching what he’ll do next! On the contrary (because the film is all about contrasts), the peasant Francesca, played marvelously by Jane Asher, does things for others instead of herself. She basically sacrifices herself to save her father and the man she loves from Prince Prospero, all the while infuriating and fascinating Prospero with her acts of love and kindness.

In a film all about juxtaposing good vs. evil, it’s odd to note that though Prospero is obviously evil, Price gives him a charming subtext that is almost irresistible. No matter how evil we see him as, we can’t help but want to know more about him. It’s hard to say if this is because of how the character is written or because of how Price played him, but this temptation to follow Prospero remains.

Overall, The Masque of the Red Death is probably the best adaptation to date of the Edgar Allen Poe story. It stays faithful enough to the story but holds the audience’s interest by adding a satanic subplot to the proceedings. It also explores the sharp contrasts between good and evil through use of symbolic use of colors, costumes, sets and other visuals. The Masque of the Red Death is Corman at the top of his game during his “Poe” period, and I encourage anyone who is a fan of the “King of the B’s” or Vincent Price to check out this lavish production!

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Witchfinder General (1968)

Known as one of the best British horror films, Witchfinder General (aka The Conqueror Worm) was recently re-released stateside by MGM on DVD. Though I don’t think it lives up to the title as one of the best British horror films, it certainly showcases the evil, cruel and sadistic nature of man during England’s infamous witch trials.

In civil-war torn England circa 1645, Cromwell’s Roundheads are fighting against King Charles’ royalist troops. The land is in upheaval, full of lawlessness, distrust, religious persecution and superstition. It is in this unpredictable atmosphere that Matthew Hopkins (Vincent Price), otherwise known as the Witchfinder General, travels from town to town along with his assistant Stearne (Robert Russell). The two men obtain confessions from accused “witches” (usually just unpopular townsfolk) by viciously torturing them. Hopkins and Stearne do this for money, but also for the pleasure of watching others’ displeasure. If they cannot obtain a confession by torture alone, the two perform “tests” (such as seeing if the accused will float or sink in water) to prove they are the Devil’s servants.

Meanwhile, a young soldier named Richard Marshall (Ian Ogilvy) is planning on marrying Sarah (Hilary Dwyer), niece to a Catholic priest (Rupert Davies) in quaint Brandeston. On a short leave from duty, he visits the two and receives the uncle’s blessing for the marriage. He happily takes his leave to go back to his post, but unbeknownst to him he gives directions to the Witchfinder General, who is on his way to Brandeston to condemn the Catholic priest!

After gathering the mob who accused the unpopular priest (he is Catholic while most of the townsfolk are Protestant) of working for the Devil, Hopkins and his assistant invade the priest’s home and brutally beat and stab him. Sarah pretends to be but a lowly servant girl and offers herself to Hopkins to save her uncle’s life. The torture stops, but the priest is thrown in prison to rot. When Hopkins’ bloodthirsty assistant learns of the “understanding” between the Witchfinder and Sarah, he violently rapes her. After Hopkins finds out about this, he wants nothing more to do with her and the torture of the priest reconvenes. The priest is eventually hung, leaving Sarah distraught and dishonored.

Richard soon discovers what has occurred and hoofs it back to Brandeston. There, he and Sarah have an impromptu wedding before he sets out to track down the Witchfinder General for revenge!

There is no question that Witchfinder General is full of sadism and brutality. Its depictions of unjust and unfair witch trials are appalling and extremely hard to watch, especially if you keep in mind that these things actually happened. Still, despite its cult status as one of the best British horror films ever made, it still has several flaws that dampened my enjoyment of this film.

The pacing is probably the number one problem, and the film feels like it starts and stops, starts and stops one too many times. Scenes seem to drag on and on as the film meanders to its maddening end. There are several instances that I was overwhelmed with boredom and just wished the film would get on with it already! The script (based on a book by Ronald Bassett and written by Tom Baker) should have been considerably tightened up to flow more smoothly and tell the story better.

Witchfinder General is not all bad, though. Fans of British horror films will probably eat it right up. It also features great acting, especially by the usually (marvelously) over-the-top Vincent Price, who puts on a very subtle and cruel performance as the Witchfinder General. The rest of the cast does a marvelous job as well, including Ian Ogilvy as the heroic Richard, Hilary Dwyer as a strong but very frightened Sarah and of course Robert Russell as the reprehensible and sadistic Stearne.

Another positive of the film is the unabashed cruelty portrayed. The film looks unflinchingly at the horrors experienced by accused witches and, to this day, it’s quite hard to watch. The ludicrous tests for witchcraft (including the sink or float theory mentioned above), along with the vicious torture of the accused all culminated in hanging, being burned at the stake, or some other unthinkable act. This film really explores the evils people are capable of inflicting on their fellow human beings, which, in the realistic setting of witch trials, is truly terrifying.

Also worth mentioning is that this was director Michael Reeves last picture before his drug overdose (a reputed suicide) at age 26. He had only made two films before Witchfinder (The She-Beast with Barbara Steele and The Sorcerers with Boris Karloff). It was reported that he had some fantastical arguments with Vincent Price while shooting the picture!

Witchfinder General may not be the best British horror movie ever, but if you are a big fan of British horror films or a witch trial history buff it will definitely deliver. As for the rest of us, a rental will probably suffice to view Price’s sadistic portrayal and the brutal (and all too real) torture of innocents.

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Spider Baby (1964)

Spider Baby has been a long sought after, but extremely rare film to find. If you were lucky enough to see it, it was probably on a horribly transferred, scratchy VHS bootleg. Luckily, the good folks over at Dark Sky Films, bless their souls, have restored, remastered (under supervision from director Jack Hill) and released a special edition of this fantastic film.

Spider Baby, or The Maddest Story Ever Told, is about the Merrye clan, who live in isolation in the middle of nowhere in a large and creepy mansion. The Merrye children, Elizabeth (Beverly Washburn), Virginia (Jill Banner) and Ralph (Sid Haig) all suffer from a rare genetic disease that makes its victims regress, first to a childlike state, but ultimately to a cannibalistic and savage state. They are cared for by the loyal chauffeur, Bruno (Lon Chaney, Jr.). The children like to play games, but it seems all who enter their gates ends up dead. When greedy distant relatives and their slimy lawyer descend upon the Merrye house, they get more than they bargain for as they realize the Merrye family will stop at nothing to protect their secret.

This 1964 film is one that definitely deserved to be given a special release. Everything from the fantastical story to the stellar acting makes this a cult classic with good reason. I couldn’t put it better than Dark Sky Films’ when they describe the film as “Luis Bunuel meets The Addams Family meets The Texas Chain Saw Massacre.” The surreal atmosphere combined with the morbid comedic relief and the few shocking scenes of brutality tie in very nicely with the overarching theme of family loyalty.

The story, written by director Jack Hill, is fantastical and entirely engaging. Hill creates memorable characters set amidst a very gothic setting (cob-web filled, derelict mansion complete with hidden passages). Throw in a tragic disease, evil relatives and multiple murders and you’ve got quite a story! Everything works in this film!

The actors must be given due credit for imbuing their characters with life. The legendary Lon Chaney, Jr. is amazing as the loyal and steadfast caregiver, Bruno. Any fans of his will delight in seeing him in this, dare I say, sweet role. It is also a treat to see Sid Haig in his early years as the child-like Ralph. Jill Banner as Virginia and Beverly Washburn as Elizabeth also do an amazing jobs as the young Merrye women. There is one creepy scene where Elizabeth plays “Spider” with her Uncle Peter and then attempts to seduce him…if that scene doesn’t give you the willies, then there is something seriously wrong with you!!

The film’s black and white print looks amazing and its restoration was carefully supervised by Jack Hill. The special features aren’t too shabby either and include a feature-length commentary with writer/director Hill and actor Sid Haig, a slew of featurettes including “The Hatching of Spider Baby,” “Spider Stravinsky: The Cinema Sounds of Ronald Stein,” and “The Merrye House Revisited,” a still gallery, an alternate opening sequence and extended scenes. All this makes the special edition of Spider Baby one to definitely buy.

I must disagree with those that call this a “B-movie.” There is absolutely nothing subpar in Spider Baby. This was even my first time seeing this film, and I was blown away at how engaging it is and how much I liked it! From the delightful animated opening scenes (complete with Lon Chaney, Jr. singing the theme song) through to the explosive end, this Spider certainly had me wrapped up in its web!

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Castle of Blood (1964)

Exquisitely creepy and essentially gothic, Antonio Margheriti’s Castle of Blood is the perfect moody film for dark, stormy nights. Heck, I watched it while the sun was still shining and it still made my apartment feel like a dank, dark crypt. Much like Mario Bava’s classic Black Sunday, Castle of Blood is full of foggy cemeteries, beautiful damsels in distress, cursed ghosts and a very gloomy yet suspenseful atmosphere.

Journalist Alan Foster is planning to meet with great author Edgar Allan Poe at a pub. When he arrives, Poe is regaling a group of men with one of his fantastical tales. After the tale is finished, Poe goes on to tell Alan that his tales are based on truth. Poe’s friend, Lord Blackwood, agrees with him and he and Poe challenge the scoffing Alan to stay at a supposedly haunted castle overnight. It is a special night, the night of the dead, where the ghosts of the castle supposedly come back to reenact their last moments on earth. According to Blackwood, no one has ever been able to last the entire night in the castle.

Alan begrudgingly agrees to the proposition and the three take a two hour carriage ride to the isolated and seemingly abandoned castle. Poe and Blackwood drop Alan off and tell him they shall return at dawn to see how he fared. Alan opens the creaky iron gates of the castle, creeps through an overgrown cemetery and is spooked by a little black cat before heading into the dark castle. Here he does some exploring and finds that he is not alone. A woman named Elisabeth appears and soon she and Alan have fallen in love. Trouble is, Elisabeth is a ghost and soon the other inhabitants of the castle appear. Alan starts to wonder if he is going mad but soon discovers that the apparitions are after more than his sanity…they want his blood!

For fans of old, black and white, atmospheric haunted house movies, Castle of Blood is a must-see. If, on the other hand, you need constant gore and action to keep your attention during a movie you may want to skip this one. The first 10 minutes alone show Alan just making his way into the castle and poking around. I love these kind of movies, though, the kind that are full of creaky doors, black cats, overgrown cemeteries, eerie fog, nefarious mysteries and murders!

The acting is quite well-done, though perhaps a bit over-dramatic for today’s audiences. Still, Barbara Steele shines as the doomed Elisabeth Blackwood and Georges Riviere is excellent as the unbelieving Alan Foster. The rest of the cast does a spectacular job as well and each character helps create a foreboding atmosphere as the movie progresses to the finale.

Margheriti’s direction is excellent. Everything is in the chiarcoscuro style and very Gothic-inspired. Scenes of rolling fog in between gnarled trees and broken tombstones look gorgeously creepy and the cramped, dark corners of the castle are truly claustrophobic. Margheriti builds on the dread with each scene and really delivers at the end.

The Synapse DVD release of Castle of Blood has previously unreleased scenes, such as a lesbian scene, a nude scene and a few extra scenes that add further explanation. These scenes were so rare to find that the only prints that existed were French. Therefore, you will notice that when these scenes pop up they have French audio with English subtitles. After getting over the language switch, you’ll find that these never-before-seen-scenes add a lot to the overall movie. Synapse has done a great service to movie fans by adding these “lost” scenes back into this film.

Castle of Blood is a must-see for fans of old haunted house films. The Synapse DVD is highly recommended for its restoration of “lost” scenes, but I recommend seeing this film any way you can!

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Black Sunday (1960)

Black Sunday (aka The Mask of Satan) is an amazing gothic masterpiece by director Mario Bava. It evokes a feeling of tension and dread throughout, contains an engaging story and features beautiful cinematography. It's hard to believe that this is Bava's first feature, as it is so well done. It brings to mind the classic black and white Universal films, filled with fog, beautiful women and men, menacing monsters and gorgeous sets. The ominous mood is set from the opening scene all the way through to the finale.

The film opens with Princess Asa Vajda (Barbara Steele) being accused of witchcraft. She is branded with the mark of Satan, then a hideous mask (called the mask of Satan, with sharp spikes on the inside) is pounded into her face before she and her servant (who has suffered the same fate) are both burned at the stake. Before she is executed, she vows revenge on the family of her brother, the prince, who has condemned her.

A few centuries later, we meet Katia (again, Barbara Steele), the descendant and splitting image of Asa. She lives in the Vajda castle with her brother and her father. Meanwhile, two traveling doctors stop at the now ruined church where "the witch" was laid to rest. The two decide to scope it out, and accidentally awake Asa, who is hellbent on revenge against the Vajda's. She in turn summons her servant and the two begin to terrorize the Vajda family. The two traveling doctors soon get involved with the family, one falling under Asa's spell and the other falling in love with Katia. Soon the killings begin, with the victims sporting two puncture marks on their necks. Asa has returned with vampiric powers and will stop at nothing for revenge against the family who destroyed her.

A great moody, atmospheric film that was nothing like what I was expecting. Truth be told, with Bava as the director I was expecting a giallo along the lines of Blood and Black Lace, filled with lots of blood, violence and exploitative shots of women. On the contrary, Black Sunday takes a more classic (and classy) approach, bathing everything in shadows and fog. It has its share of sadistic scenes, especially the torture scene at the beginning of the film, but everything is engulfed in a dream-like, fairy tale atmosphere that I found truly refreshing.

I'm glad I finally got around to seeing one of the classic films of horror cinema...check this out if you enjoy classic films with a gothic atmosphere and want to see where horror got its start!

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Blood Feast (1963)

This 1963 Herschell Gordon Lewis film focuses on a serial killer who is obsessed with the Egyptian goddess Ishtar. He kills young women and takes certain body parts for a sacrifice to Ishtar. The killer is also planning an Egyptian feast for a debutante...an Egyptian feast no one will soon forget!

I went into this movie knowing that it would be a horrible exploitation flick, but I guess I didn't realize just how bad it would be! I was completely bored the whole way through...the acting is horrible, the direction is shoddy, the effects are gory, but cheap and fake. I couldn't sit through it all...it was just way too lame for me.

I wanted to see this movie because Herschell Gordon Lewis is the Godfather of Gore...but if a movie just focuses on the gore and doesn't take time to make me care about the characters or story, then it's just not worth it for me. I need a movie with a little more substance.

However, this film shows us the roots of where horror came from and its amazing to think on how little money this film was made! Of definite interest for future horror filmmakers looking to make a movie on the cheap as well as horror buffs who want to go back to the genre's beginnings.

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Blood and Black Lace (1964)

Directed by Mario Bava, Blood and Black Lace is one of the first "giallo" movies and is considered a groundbreaking film in that genre. "Gialli" are mystery films (usually featuring a masked, trenchcoat wearing killer) that feature lots of violent and bloody deaths (that usually befall beautiful women).

The story: Models in a couture fashion house get murdered by a masked killer. Blackmail, drugs, sex and greed all play into the plot of the privileged fashion society in which the beautiful models live (and die).

The look of the film reminds me of Dario Argento's gorgeous Suspira. Bava, like Argento, uses lots of colorful Technicolor lights throughout the film to portray different moods and settings. The murder scenes were also very inventive for 1964, and today they still pack quite a punch. The first murder scene in which we see the masked and gloved killer dragging the body of one of the models is very striking and creepy. I loved the murder scene with the girl in the bathtub...so pretty yet so creepy at the same time. The plot, though secondary to the murders, is suspenseful. I didn't figure out who the killer was by the end, though I usually have at least a hunch. Also, I have to say that it was a joy seeing it in Italian. I hate films (like most of Argento's) that are either dubbed or do the silly back-and-forth between dubbed and subtitled. Those drive me nuts, and I end up not being able to enjoy the film. This one was perfect, as I could hear (and understand) the Italian perfectly.

This giallo is highly recommended! Do not expect an American-type slasher, though. Italian gialli are much different than your standard slice and dice American slasher. Gialli are more sophisticated, though still not for the faint of heart.

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