by Steve Habrat
Throughout the late 1950s and into the 1960s, gothic horror was alive and well in Europe. In the United States, interest in vampires, werewolves, and Frankenstein monsters faded in the wake of World War II and the atomic bomb. American horror movies moved on to mutated fiends, aliens from outer space, giant bugs stomping on small American towns, femme fatales, film noir, and Norman Bates slashers. Sure, Roger Corman released a few gothic drive-in Edgar Allen Poe tales starring Vincent Price, and there were a handful of witch-hunting films, but the emphasis was on monsters made through radiation, not in the pages of a Bram Stoker or Mary Shelley book. Europe was a completely different story. The British film company Hammer Films cranked out a number of classic gothic horror films, exploding in 1957 with The Curse of Frankenstein and continuing their run well into the 1970s. It seemed that Italy also had an interest in the gothic horror film, or at least Italian cinematographer turned director Mario Bava did. In 1960, Bava released Black Sunday (aka The Mask of Satan), a gorgeous gothic masterpiece centering on evil witches and bloodthirsty vampires coming back from their 200-year-old graves. Since its release, many critics have described Black Sunday as being a cross between a Hammer horror film and a classic Universal Studios horror film, an accurate description indeed. Featuring exquisite black and white cinematography, chilling sound work, unmatchable set design, an iconic performance from genre star Barbara Steele, and one of the most terrifying resurrection sequences in horror history, Black Sunday sits proudly near the top of the best Italian horror films of all time.
Black Sunday begins with a witch named Asa Vajda (played by Barbara Steele) and her vampire partner Javuto (played by Arturo Dominici) being sentenced to a gruesome death by Asa’s brother. Before the pair is left to burn, Asa’s brother orders that the mask of Satan be nailed to the faces of the condemned so that the world will forever know their true wickedness. Before they are executed, Asa puts a curse on her brother’s descendants and promises to return from the grave to have her revenge. Two centuries later, Dr. Thomas Kruvajan (played by Andrea Checchi) and his assistant, Dr. Andre Gorobec (played by John Richardson), are traveling through the same area where Asa and Javuto are buried. While passing through the eerie forest, one of their carriage wheels is damaged, leaving them stranded near Asa’s ruined tomb. While they wait for the wheel to be fixed, they decided to investigate the ruins to see what they can find. While poking around, the doctors find Asa’s coffin, which has a window displaying the horrible mask that was nailed to her face. Just as the men are about to leave the tomb, Dr. Kruvajan is attacked by a giant bat, which leaves a nasty cut on his hand. In the process of the attack, a few drops of blood make it into Asa’s tomb, resurrecting the evil witch and reigniting her fury. She telepathically resurrects Javuto, who sets out to find her brother’s descendants and make them pay.
If you were convinced that Hammer and Universal were the undisputed kings of gothic horror, Black Sunday is guaranteed to change your mind. There is not one scene in Black Sunday that doesn’t have some sort of gothic image to haunt your nightmares. There are cobwebbed tombs, dead forests, silhouetted castles, lifeless swamps, cracked graveyards, and crosses in every character’s hand. It’s full of the usual stuff, but the gothic style has never seemed so evil and dead as it does here. In Hammer and Universal’s offerings, there were at least a few glimpses of life, maybe a few late autumn leaves stuck to a branch or a babbling brook, but not in Black Sunday. It appears Asa’s curse worked its way into the trees, soil, and even the castle stones, leaving a perpetually parched and still wasteland where nothing will ever grow. It’s extremely creepy and it looks absolutely amazing in Bava’s lush black and white cinematography. You’d think that when compared to Hammer’s color releases, Black Sunday would be overlooked due to being presented in black and white, but the lack of color only adds to the hopelessness of the surroundings. It also adds extra menace to the shadowy castle hallways and rotten tombs, where candelabras flicker and tapestries hang down like fangs waiting to snap.
While Black Sunday may be celebrated for its gothic style, the film is also loaded with spectacular performances, particularly from Barbara Steele in a dual role. As Asa, Steele is in completely command of the film as she curses, and manipulates anyone who dares look in her direction. When we first see her tied to the stake waiting to be burned, her beauty throws us. We hear her brother condemning her for these terrible actions, but her innocent eyes hold us in doubt. Could she really be responsible for what they say she is? Don’t be fooled, as her true nature soon rears its ugly head. When Steele isn’t projecting pure evil as the vengeful witch, she is showing us her softer side as Katia, a striking descendent of Asa’s brother. Her performance as Katia doesn’t hit quite as hard as Asa, as she is basically asked to sit by her father’s bedside, look worried, or play the damsel in distress, but it’s still strong where it counts. Arturo Dominici gives a strong and silent performance as the equally wicked Javuto, Asa’s vampire partner who carries out some of the dirty work for the witch. When he speaks, you will be turned to stone. John Richardson’s Dr. Gorobec basically becomes the hero and love interest of Katia, Andrea Checchi’s Dr. Kruvajan becomes hypnotized servant to Asa, and Antonio Pierfederici’s Priest demonstrates a very creative and gruesome way to dispatch a vampire.
Despite the long list of positives, Black Sunday still has a few minor flaws that are difficult to ignore. First is the dubbing, which opens the door for some less-than-graceful dialogue. Unlike some of the trashier Italian efforts that would come much later, Bava makes an effort to have the English dubbing match the movement of the character’s mouths. It’s a success in that regard, but there are times when you wish that the film had been subtitled. Another minor problem with the film is the score, which slightly conflicts with Bava’s stunningly grim imagery. The music for the American version of Black Sunday was provided by Les Baxter, who delivers a score that captures none of the gothic atmosphere that flows forth from the screen. Still, the complaints are trivial when compared to both of the terrifying resurrection sequences, the unblinking gore, our first glimpse of Katia, or the chilly opening execution. They are all glimmers of absolute brilliance. Overall, as stylish, eerie, and grotesque as they come, Black Sunday is an astonishing directorial debut by the legendary Mario Bava. To this day, his images still retain their hair-raising power, and Steele’s Asa still stands as one of the most evil forces to ever haunt a movie screen.
Black Sunday is available on Blu-ray and DVD.
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Canadian broad who has had a lifelong obsession with horror films. Perpetually working on a screenplay, avid collector of soundtracks, belt buckles and wigs. You can find me on WordPress: http://goregirl.wordpress.com/, YouTube: http://www.youtube.com/user/goregirlsdungeon or follow me on Twitter: @ggsdungeon.
Goregirl’s Top Five Scariest Italian Horror Films
Nothing can whip me into an excited frenzy like finding an Italian horror and/or thriller I haven’t seen. I have hungrily devoured Italian horror titles like a rabid Ms. Pac-Man. It is getting more difficult these days to find films I haven’t seen. I am particularly fond of the Giallo of the 1970s. The word Giallo is Italian for “yellow”, which refers to the common coloring of cheap pulp fiction novels. The term “Giallo” is used to describe Italian literature and film that contains elements of crime, mystery, horror, thrillers or eroticism. I never miss an opportunity to talk about Italian horror! Italian horror generally speaking tends to be plot heavy with copious twists and red herrings and while the mood can be positively electric I don’t think I would classify most of these as “scary”. Coming up with five was more difficult than I anticipated. I wanted to insure five Italian directors were represented so I allowed myself just one title per director. After much inner debate I chose the following five horror films hailing from Italy that provide not just thrills but also chills…
THE BEYOND (1981)
Directed By Lucio Fulci
I could easily have filled this entire top five with Lucio Fulci films! His brilliant entries Don’t Torture A Duckling, Zombi 2, A Lizard in a Woman’s Skin and The Psychic all deserve high praise. I chose Lucio Fulci’s The Beyond. In my opinion The Beyond is Fulci’s scariest, creepiest and goriest effort. The premise of The Beyond sees one of the seven gateways to hell being breached. This gateway lies beneath a hotel the main character inherits. Crazy shit happens, some of it’s illogical but every last bit is a fascinating, visual treat. People are nailed to walls, eaten by tarantulas, melted by acid, and of course there is classic Fulci eye trauma! And there are zombies! Beautiful, rotted wonderfully vial zombies! Don’t worry about a perfect logical narrative; just let the nightmare wash over you! The Beyond is classic Fulci at his gory best, but I can not recommend more highly checking out any of the aforementioned Fulci flicks!
BLACK SUNDAY (1960)
Directed By Mario Bava
Mario Bava is another favourite director whom I struggled to choose just one film for. Certainly his fantastic anthology Black Sabbath, the brilliant Kill Baby Kill!, the masterful The Girl Who Knew Too Much or his magnificent Blood and Black Lace would have all been great choices. I went with what is perhaps Bava’s best known film; Black Sunday. The stunning Barbara Steele takes on dual roles as Princess Asa Vajda and Katia Vajda. It is a wonderful richly gothic tale of a witch put to death by her own brother who returns 200 years later to seek revenge on her descendants. “The Mask of Satan” (which also happens to be one of its alternate titles) once pulled from the face of our witch makes for some grotesque visuals! Black Sunday was one of my dad’s favourite films and it absolutely terrified me as a child. While Black Sunday doesn’t quite have the same effect on me after 20ish viewings I think it is still one of Bava’s creepiest and most beautiful films.
Directed By Sergio Martino
No list of Italian films is complete without an entry from Sergio Martino. Anyone with even a casual interest in Italian horror probably knows the names Lucio Fulci, Mario Bava and Dario Argento but the lesser known Sergio Martino made several epic entries through the seventies. My favourite film by Martino is definitely The Strange Vice of Mrs. Wardh starring the gorgeous and sexy Edwige Fenech; Your Vice is a Locked Room and Only I have the Key and The Case of the Scorpion’s Tail wouldn’t be far behind. I love these films but I would be hard pressed to say any of these are “scary”. Martino’s most frightening entry is Torso. College students are being murdered and the only clue to the killer’s identity is a scarf. A group of lovely ladies take refuge in the Italian countryside only to find themselves the killer’s target. The good old balaclava; headwear of thieves and serial killers alike! Torso has a balaclaved baddie, amazing scenery, plenty of skin and some impressive brutality! The final chase scene between the surviving female and the murderer is intense and exciting. Torso is gritty, sexy, suspenseful, violent and it has a great soundtrack to boot.
Directed By Dario Argento
What can I say about the great Dario Argento? The man knew how to construct a violent and visually stunning film. Argento’s Deep Red, Tenebre and Suspiria have long been personal favourites. Deep Red will always be my number one but for the “scary” category I would have to go with Suspiria. Suspiria takes place in a prestigious dance school where shenanigans of a supernatural nature are afoot. There is a feeling of unease established from the moment new student Suzy Bannion arrives at the school that doesn’t let up until the final credits. Its beauty is quite remarkable but is only one of its impressive qualities. Suspiria is claustrophobic, intense, suspenseful, thrilling and features some very impressive murder sequences! Suspiria is like an adult fairy tale and its impressive setting and props add a whimsical and yet terrifying sense of dread. Its brilliant soundtrack courtesy of Goblin is one of the best horror film soundtracks ever created! Performances are excellent across the board from Jessica Harper who plays Suzy, Stefania Casini who plays her friend Sara and great turns from classic actresses Alida Valli as Miss Tanner and Joan Bennett as Madame Blanc. Suspiria is part of Argento’s “three mothers trilogy” and I can not recommend enough also checking out Inferno, his second of the trilogy. Suspiria is a beautiful nightmare.
Directed By Lamberto Bava
Lamberto Bava is the son of the great Mario Bava. While I enjoyed Lamberto Bava’s Macabro, A Knife in the Dark, and Delirium, in my opinion Demons is definitely Bava’s masterpiece. There have not been many effects-intensive creature creations from Italy so for that reason alone this film is special. There are however a lot of other reasons Demons is special. The premise is a simple one; a group of people are given passes to a screening of a horror film and become trapped inside the theatre with a bunch of demons. Demons is very high-energy, it doesn’t let up for a second. The gore is plentiful; the effects are outrageous and occasionally gag-worthy. Most importantly, Demons has some really freaking cool looking demons! The transformations are fantastic; polished nails being pushed out in favor of nifty new gnarly claws, teeth pushed out to upgrade to some nice big pointy ones. It is a beautiful thing! Demons definitely has its campy qualities but it only adds to its charms. Demons insane finale involving a dirt bike, a sword and a helicopter falling through the roof is not to be missed! If you enjoy Demons, there is also a sequel you can sink your teeth into. Demons 2 isn’t as good as the original, but it certainly has its moments! Demons is an orgasmic, goretastic joy!