Review: "I Vampiri" is Not Great, But is Unique (Remembering Mario Bava)

TRASH IN MY EYE No. 109 (of 2007) by Leroy Douresseaux

I Vampiri (1956) – B&W
COUNTRY OF ORIGIN: Italy
Running time: 78 minutes (1 hour, 18 minutes)
DIRECTOR: Mario Bava with Riccardo Freda
WRITERS: J.V. Rhemo; from a story by Piero Regnoli and Riccardo Freda
PRODUCERS: Luigi Carpentieri, Ermanno Donati, and Piero Donati
CINEMATOGRAPHER: Mario Bava
EDITOR: Roberto Cinquini
COMPOSERS: Franco Mannino and Roman Vlad

HORROR with elements of drama

Starring: Dario Michaelis, Gianna Maria Canale, Carlo D’Angelo, Wandisa Guida, Angelo Galassi, Renato Tontini, Charles Fawcett, Gisella Mancinotti, Miranda Campa, Antoine Balpêtré, and Paul Muller

The subject of this movie review is I Vampiri (The Vampires), a 1956 Italian horror film. The film is apparently the first sound era Italian horror film, as the genre had been banned in the 1930s and 40s.

Although Riccardo Freda, working under the name “Robert Hampton,” is credited with directing the Italian horror film, I Vampiri, the movie was actually finished by cinematographer Mario Bava after Freda quit the production. I Vampiri has been was first released in the United States as The Devil’s Commandment (1956) and later as Lust of the Vampire (1963).

After a series of young women are found dead with the blood drained from their bodies, the citizens of Paris are calling these the “Vampire Murders.” Inspector Chantal (Carlo D’Angelo) and the French police aren’t the only ones investigating the murders. Pierre Lantin (Dario Michaelis) is a curious journalist determined to solve the murders, but he finds his investigation distracted by the lovely Giselle (Gianna Maria Canale), the niece of Margheita, the Duchess du Grand, who was obsessed with Lantin’s late father.

What Lantin doesn’t know is that back at the Duchess’ castle, mad scientist, Dr. Julien du Grand (Antoine Balpêtré), is draining young women of their blood. When Lorrette Robert (Wandisa Guida), a beautiful student, turns up missing, Lantin follows his suspicions to the Duchess and to the horrifying secret deep in the heart of her castle.

By no means a great film, I Vampiri is a nice introduction to Mario Bava’s ornate style of Gothic horror films. This moody curiosity, which features beautiful dream-like photography and splendid production values, is strangely mesmerizing. Somewhat over the top and yet strangely mannered and staid, I Vampiri is a unique movie treat.

6 of 10
B

Wednesday, July 25, 2007

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Review: "Black Sunday" Remains a Chilling Mario Bava Masterpiece

TRASH IN MY EYE No. 126 (of 2007) by Leroy Douresseaux

La Demonio del Maschera (1960) – B&W
COUNTRY OF ORIGIN: Italy
Running time: 87 minutes
CINEMATOGRAPHER/DIRECTOR: Mario Bava
WRITERS: Ennio De Concini and Mario Serandrei, with English dialogue by George Higgins (based upon the short story “The Viy” by Nikolai Gogol)
PRODUCERS: Massimo De Rita and Lou Rusoff (U.S. version)
EDITOR: Mario Serandrei

HORROR/THRILLER

Starring: Barbara Steele, John Richardson, Andrea Checci, Ivo Garrani, Arturo Dominici, Enrico Olivieri, Antonio Pierfederici, and Tino Bianchi

Acclaimed Italian horror director Mario Bava made his directorial debut with the film, La Demonio del Maschera, which first received a U.S. release in 1961 under the title, Black Sunday. Previously, Bava had finished other directors’ films, but did not receive a screen credit as a director until Black Sunday. The story is based upon a Russian folktale, and Bava also co-wrote the film, but did not receive a screen credit as a writer.

Condemned to die as a witch in the 17th century, Princess Asa Vajda (Barbara Steele) returns two centuries after her execution to wreak vengeance on her executioners’ descendents. Those descendents are Prince Vadja (Ivo Garrani), his son, Prince Constantine Vajda (Enrico Olivieri), and Katia Vadja (Barbara Steele), who looks just like Princess Asa. Two men, Dr. Thomas Kruvajan (Andrea Checci) and his young companion, Dr. Andre Gorobec (John Richardson), traveling through the countryside, stumble upon Asa’s grave and unwittingly reawaken her. Soon, Dr. Gorobec and a local priest are in a race against time to save Katia from becoming the sacrifice that will allow Asa to walk the Earth again and unleash Hell’s undead demons.

Simply put, this is a masterpiece of black and white gothic horror filmmaking. Steeped in rich atmosphere and lush shadows, Black Sunday is truly frightening. (It had me with my back pressed against the sofa.) Filled with a hellish sexual yearning and sadism, Black Sunday’s production values are worthy of a Hollywood historical epic. Black Sunday is pure visual dark poetry – a horror film that refuses to be forgotten.

8 of 10
A

Thursday, September 13, 2007

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