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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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Wilmington

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MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé

A Haunted House 2 is not a movie. It is a nervous breakdown. Directed by Michael Tiddes but largely the handiwork of star, producer, and co-writer Marlon Wayans, the film is being billed as yet another Wayans-ized spoof of the horror movie genre, à la the first Haunted House movie and the wildly successful Scary Movie series. (Keenen Ivory Wayans and his brothers were responsible for the first two Scary Movie films; they have since left that franchise, which may explain why a new one was needed.) And there are some familiar digs at recent horror flicks: This time, the creepy doll and the closet from The Conjuring, the family-murdering demon from Sinister, and the dybbuk box from The Possession all make appearances. But this new film is mostly an excuse for star Marlon Wayans to have extended freak-outs in response to the horrors visited upon him—shrieking, screaming, crying, cowering, and occasionally hate-fucking for minutes on end. Yes, you read that last bit right. A Haunted House 2 puts the satyriasis back in satire.”
Ebiri On A Haunted House 2