MCN Columnists
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.

Leave a Reply

Wilmington

Andrew Coyle on: Wilmington On Movies: Paterson

tamzap on: Wilmington on DVDs: The Magnificent Seven, Date Night, Little Women, Chicago and more …

rdecker5 on: Wilmington on DVDs: Ivan's Childhood

Ray Pride on: Wilmington on Movies: The Purge: Election Year

Movieman on: Wilmington on Movies: The Purge: Election Year

Johanna Lynch on: Wilmington on DVDs: The File on Thelma Jordon; Adua and her Friends; Bullet to the Head

【14時までのご注文は即日発送】04-0017 03 48サイズ JILL STUART NEW YORK (ジルスチュアート ニュ on: Wilmington on DVDs: House of Wax (1953); After Earth; The Purge

【最安値に挑戦!】 ダイキン SSRN112BD4馬力相当 天井埋込カセット形 マルチフロ on: Wilmington on DVDs: House of Wax (1953); After Earth; The Purge

alain mikli アランミクリ メガネSTARCK EYES (スタルクアイズ) SH0001D カラー0053(正規品)【楽 on: Wilmington on DVDs: House of Wax (1953); After Earth; The Purge

【最安値に挑戦!】 ダイキンSZRN63BT2.5馬力相当 天井埋込カセット形 マルチフロ on: Wilmington on DVDs: House of Wax (1953); After Earth; The Purge

Quote Unquotesee all »

“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson