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Mike Wilmington

By Mike Wilmington Wilmington@moviecitynews.com

Wilmington on DVDs: Baron Blood

BARON BLOOD (Remastered Blu-ray edition) (Two and a Half Stars)
Italy: Mario Bava, 1972 (Kino Classics)

The Baron Blood of the title is played by Joseph Cotten: grinning, chuckling and looking as evil as possible, after his playboy American descendant Peter (Antonio Cantafora) shows up to visit the family castle in Austria. Blood’s kin, despite wise counsel from local Professor Hummel (played by Massimo Girotti, the lover’killer of Visconti‘s Ossessione) becomes besotted with comely, mini-skirted  restoration expeort Eva (Elke Sommer), and, while trying to impress her, unwisely brings the Baron back to life, unleashing a string of bloody murders, fiendish tortures, chases down corridors, bursts of bouncy Euro-pop music and  lots of bad English language dialogue, delivered as a not always-comfortable second or third  language by most of the cast — except, of course, for the eloquent Cotten as Baron Otto von Kleist a.k.a. Alfred Beckel a.k.a. Baron Blood. (The first choice for this role, by the way, was Vincent Price.)

Fortunately, the director here is the legendary Mario Bava (Black Sunday, Black Sabbath), a visual movie-making genius who gives us something fascinating or interesting to look at in almost every shot, including a long  homage to the  Price/Andre de Toth  3D horror classic House of Wax , and more twisting staircases, somber towers, shadowy torture chambers,, gargoyles, well-used Iron Maidens and impaled victims than you could imagine outside of Transylvania on a dark and windy night.

Bava has as his location here a centuries-old Austrian castle-museum, Berg Kreuzenstein,  that’s a masterpiece of architecture, if not (at least here) of drama, and he exploits it visually to the hilt. Just accept the fact that the script (by Vincent G. Fotre, who wrote the anti-Commie short, Red Nightmare)  is no good, and you’ll probably have a good time — as did Bava’s friends and colleagues Federico Fellini and the fidgety Michelangelo Antonioni at Bava’s pre-release invitational screenings, according to Tim Lucas‘ very informative and entertaining commentary. (But Tim, Roberto Rossellini didn’t direct Ossessione.) The classy cast also includes that semi-legendary Peter Lorre look-alike Luciano Pigozzi (a.k.a. Alan Collins) and, as a lady of darkness, the stunning Rada Rassimov. If she’d played the restoration expert, and Elke had played another sexy maid a la Shot in the Dark, it would have been a better movie, (In English language. This is, however, producer Alfred Leone’s preferred European version.)

Extras: Commentary by Tim Lucas; Radio spots; Trailers.

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DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato