DVD Review: Kill, Baby...Kill! (Arrow Video)

That wafer- thin line between the living and the dead has been crossed by many directors but few, I'll wager, could walk the walk like Mario Bava. With the sole exception of Lisa And The Devil, Bava had to work with meagre budgets and tight schedules, relying on ingenuity, imagination and those painterly eyes that created some of the most vivid nightmares ever committed to celluloid.

Kill, Baby...Kill! pits science and law against the forces of evil when Dr. Paul Eswai ( Giacomo Rossi-Stuart) and Inspector Kruger (Piero Lulli) arrive at the small Transylvanian village of Kremingen; the latter in response to a letter from one extremely frightened girl who was found impaled on iron railings before Kruger could reach the village. Eswai is asked to perform an autopsy, aided by Monica ( Erika Blanc), an ex-local girl who returns home to find her birthplace gripped by fear. As Bava works his magic, we slowly discover the legend of Melissa Graps (played by a young boy ,Valerio Valeri) , a 7 year old girl who, many years earlier, bled to death following an accident while drunken villagers ignored her cries for help. Now, those who catch sight of her unquiet spirit suffer a similar fate while her mother (Giana Vivaldi) presides over the family villa, surrounded by memories and fueled by hate.Although Bava is often cited as a master of style over substance, Kill, Baby...Kill! is a veritable feast for lovers of the macabre who like nothing better than a tale well told. A frightened coach driver who reluctantly delivers Eswai into a place of evil; terrified villagers who form a wall of silence; a scorceress ( Fabienne Dali', echoing Rada Rassimov's character in Bava's Baron Blood) who uses 'the old ways' to ward off the dead; wonderful mist-shrouded night scenes where a tolling bell signals another impending death.... a familiar storyline with stock characters? To an extent, yes, but even though we're on familiar ground, the soil seems firm and fresh, thanks to Bava's supreme technical skill, coupled with his unerring ability to get under the skin of what really scares us. Here, the spectral figure of Melissa Graps takes centre stage, emerging as one of Bava's eeriest and most imitated creations. This 'bambino diavolo' has inspired the likes of Martin Scorsese (The Last Temptation Of Christ) and Federico Fellini (Toby Dammit, from Spirits Of The Dead), who took note of the images of a child clad in white, emerging from the shadows of half-lit corridors, peering through windows with a malevolent, death-dealing stare or, most chilling of all, perched on a swing, her laughter peeling through the cold night air: wish I had a gold coin (embedded in the heart, perhaps?) for every film that wheels on a child's ball bouncing down the stairs to land at the feet of the living.Melissa's evil mother also succeeds in quickening the pulse rate, at first commanding our sympathy and then moving to the other end of the scale as her part in this story becomes apparent.
In many ways, this is possibly Bava's finest achievement and a film that has stood the test of time. Still scary after all these years.

My DVD review copy from Arrow Video unveils a fine presentation of this film, and I found myself contemplating the long journey to finally seeing this film in pristine condition. I first saw "Kill,Baby...Kill!" on a grainy, 3rd gen video copy and graduated, years later, to DVD. I was also lucky enough to see this film on the big screen at London's National Film Theatre, as part of a Mario Bava retrospective, many moons ago. Arrow's superb presentation really does tick all the boxes here, with interior and exterior shots dripping with atmosphere created by Bava's ingenuity, often bathed in greens and blues that highlight the director's eye for creeping unease which so often reaches fever pitch.
The extras being as they should, with a Tim Lucas commentary track. Tim delivers a wealth of information on cast and crew, going on to talk about the history of some of the locations used, and also where they appeared in other Italian films. He discusses the prevalence of low angle shots, and highlights the many 'twinning' instances in the film. "Forbidden Planet", "Twin Peaks", "Toby Dammit" and "Demons 2" are just a few of the films and shows mentioned in this track, and there are interesting snippets from a telephone interview with Erika Blanc also included. It's a stimulating track, which enriches understanding and appreciation of this film.

The Devil's Daughter (21m38s)
This is an excellent video essay from critic Kat Ellinger, which covers a lot of ground in its running time.
Kat takes a look a gothic literature featuring children - such as "Children of the Abbey" by Resina Maria Roche - goes into child mortality rates in the 17th and 18th century, and offers thought-provoking analysis on child trauma in the family., touching on films and novels which include "The Devil's Backbone", "Don't Torture A Duckling", MR James' "Lost Hearts" and "The Turn of the Screw."
It's a beautifully delivered essay, guaranteed to prompt further reading and viewing from its audience.

Kill, Bava, Kill (25m 2s)
This is an interview with Mario's son, Lamberto, where his formative years are discussed, with golden memories of working under his father's stewardship.
Lamberto also takes us back to the locations used for "Kill, Baby...Kill!" in a nostalgic return to a place where time has stood still for 30 years.
It's an emotional piece, with Lamberto still greatly missing his father and justifiably proud of his achievements.

Erika In Fear (11m)
This is a 2014 interview with the still gorgeous (and very lively) Erika Blanc. Erika ehtuses over Bava's expertise, the lighting and colours used and the amtmosphere he conjured, seemingly at will. It's lovely to see this lady talking about her contribution to a great film, and proclaiming herself "a complete horror fanatic."

Yellow (6m 49s)
Semih Tareen's 2006 love letter to Mario Bava, which begins with a couple sitting down to a game of chess in a garishly lit apartment. What could go wrong? The tension is ramped up in this short film, as familiar tropes surface to delicious effect.

Arrow also provides the German opening titles for the main feature (3m 26s), which provides an early glimpse of Melissa Graps, and a 2m 32s international trailer.
Finally, we get to step through an image gallery comprising of 28 German posters and lobby cards under the title "Die Toten Augen Des Dr. Dracula".
There's also a collectors booklet included (which I haven't seen) which contains new writing on the film by critic Travis Crawford.

Blu-ray Review: Five Dolls For An August Moon (Arrow Video)

Mario Bava's "Five Dolls For An August Moon" (1970) was deemed to be his worst film by none other than the great man himself.
I respectfully disagree with this brutally frank opinion, as Dolls is a showcase for Bava's artistry and ingenuity.
Mario became involved with the project as a 'gun for hire', replacing the original helmsman, and was immediately confronted with a script he labelled as a joke.
The screenplay was loosely based on Agatha Christie's "Ten Little Indians" and though it's the weakest aspect of the film, what it does do well is to help generate some tense scenes.

The story concerns the formula for a new type of industrial resin, pioneered by Professor Gerry Farrell (William Berger).
The inhabitants of a remote island retreat anticipate a weekend of relaxation with some hard-nosed business at the top of the agenda. The Professor's formula attracts very lucrative offers from a trio of likely lads who seek possession of this valuable information.
Farrell's wife Trudy (Ira Furstenberg); sex kitten Marie (Edwige Feneche); wife-slapping, womanising George (Teodoro Corra) and Jack (Howard Ross) are all part of a group whose chances of survival grow slimmer by the minute, amidst the greed and deception.

Following a hoax stabbing, the real slayings begin, with a series of murders committed off-camera: presumably a directorial protest against the material he was given to work with.
This one really is a dry run for "A Bay Of Blood", with a large dose of the experimental at play, amidst amazing glass matte paintings and other ingenious compositions to give your 'pause' button a real workout.
Check out the crystal balls tumbling down a staircase, straight into a bathroom that plays host to another dead body; the scenes where the recently departed hang in a freezer beside real slabs of meat; the camera setting up the cast by zooming into their eyes, only to find an emptiness that matches their very souls, and a shot involving a scarf that demands repeated views.
While Bava couldn't fix the screenplay, he could push himself to create and solve visual problems which ensured Dolls is a stimulating affair, with Piero Ulmiliani's score matching the director's vision and innovative style.
Antonio Rinaldi's cinematography - shot under the watchful eye of his director - captures and contrasts cold interior beauty with the picturesque outdoor setting, with colours that really pop in Arrow Video's strong Blu-ray presentation.

Dolls is a worthy addition to Arrow's Mario Bava Collection; middle-tier Bava at best, but fascinating nonetheless.
The film is accompanied by a Tim Lucas commentary track, which begins with the assertion that "Five Dolls For An August Moon" was misunderstood by its own director.
Tim tlaks about the use of paintings in the film; the soundtrack -"one of the greatest scores Bava ever worked with" - and he discusses the director's craftmanship. Tim also compares certain scenes to other Bava films, such as "Kill, Baby...Kill!", "Danger:Diabolik" and "Planet Of The Vampires".
Those of us pondering the identity of the original director of this film will be intrigued by Tim's theory.
Another top-notch commentary from - for my money- the best in the business.

Fans of the excellent score will be pleased by the inclusion of a music and effects track, and there's also a documentary to savour.
While seasoned Bava buffs will undoubtedly have already seen "Mario Bava: Maestro Of The Macabre", it's easily worth repeat viewings, and newcomers will find it essential.
Here, we get input from the likes of Alfredo Leone, Sam Arkoff, Joe Dante, Tim Burton, John Carpenter, Carlo Rambaldi and Tim Lucas, while Mario's family are represented by son Lamberto, grandson Roy and granddaughter Georgia.
There are clips from "Baron Blood", "Black Sabbath" and "Black Sunday" to name but a few, and an abundance of insight and anecdote covering the great man's career.
There's also a collectors booklet featuring new writing by Glenn Kenny, and a new essay by Adrian Smith on the Fancey family and their efforts to deliver foreign exploitation titles to the UK during a three decade period.
"Five Dolls For An August Moon" is a Region B release, and available to buy now.

Blu-ray Review: Blood And Black Lace (Arrow Video)

The fact that Mario Bava did not receive widespread critical acclaim during his lifetime would not have bothered him one bit. Happily, some of those who long championed his skill behind the camera and amazing on-set ingenuity can now witness his work through the medium of Blu-ray which showcases his films to a degree never thought possible in the days of watching 'Kill, Baby...Kill!' and others on a 3rd gen VHS boot. Unfortunately, some of those more ardent supporters such as the Upchurch brothers are no longer with us, but their work and appreciation live on!
The latest instalment of Mario Bava home video releases is Arrow's wonderful 2K restoration of 'Blood And Black Lace' which played an important part in the giallo sub-genre.

The film is set largely in a fashion house, populated by characters who become extremely nervous about a diary belonging to model Isabella (Francesca Ungaro), whose body has been discovered by boutique owner, recently widowed Countess Cristina (Eva Bartok). Blackmail, drug abuse and abortion are just a few of the skeletons in various closets here, making the bright red journal most desirable for those with something to hide. As the bodies pile up (literally, in one scene), the police, led by Inspector Sylvestri (Thomas Reiner)attempt to shed some light on this darkest of mysteries, and detain five men; each of whom could be the killer. Clad in a black trenchcoat, with black gloves and a white faceless mask, this haut couture assassin inspired a whole slew of similarly attired deranged murderers, and more than 50 years on, has never been equalled. The killers in this outrageously brutal series of films each have his/her own back stories and motivations. Here, the killer could be any one of five or six people, from Cameron Mitchell to Luciano Pigozzi's fashion designer, but there's also another important participant to consider. If the soundtrack to Dario Argento's 'Suspiria' can be viewed as an additional oppressive cast member, then the use of colour in 'Blood And Black Lace' could possibly be termed a central character, teasing, unsettling, making us gasp at times.

It's a beautifully shot film, with inventive lighting and bold primary colours leaving us in no doubt that Mario Bava was an absolute master of his crafts. The murder scenes are gruesome, yet oddly compelling, and turn an every day place of work and what should be secure dwelling places into houses of malice and death, recorded by an unflinching camera that glides and then settles on the killers prey.

The cast are all excellent, from Arrianna Gorani; Mary Arden (whose character Peggy procures the incriminatory journal); Danti Di Paolo's drug addict to Cameron Mitchell, Bartok and Lea Krugher (Lea Lander), and the score by Carlo Rusticelli is one to savour and replay. The film alone makes this one of Arrow Video's choicest cuts, but that's just part of this story.

The restoration for 'Blood And Black Lace' comes from the original camera negative, scanned in 2K resolution on a pin-registered Arriscan at Immagine Ritrovata, Bologna. The film was graded on the Baselight grading system at Deluxe Restoration, London. The end result gives us the opportunity to view this film in its correct aspect ratio, and to experience the full effect of Bava's colour scheme. It's a flawless transfer, and a real eye opener for those of us who thought they'd really seen this film. Prepare to think again!

The supplementary material begins with a commentary track from Tim Lucas, author of 'Mario Bava: All The Colors Of The Dark' and editor of 'Video Watchdog' magazine and who also assisted with the grading on this release. Tim covers an enormous amount of ground here, talking about the colour schemes (dresses, telephones); the Krimi films and 'White Face'; how the murder scenes were shot to increase the victims vulnerability and of the director's ability to create something out of nothing. Tim also delivers valuable information on cast members (including his late friend Harriete Whie Medin)and makes a multitude of astute observations. One of these is what he terms "the angel in the wreckage', referring to Bava's placement of statues next to scenes of crime and of the lighting used in those moments leading up to and after death. No-one should die alone, and Bava's choices suggest he agrees. Maybe someone or something was there at the end to guide them on the final stage of their journey. A commentary track you'll surely return to.

The next item for your attention is 'Psycho Analysis'; a 55m 8s feature-length documentary on the origins of the giallo, featuring crime novelist Carlo Lucarelli; screenwriter Ernesto Gastaldi; writer Steve della Casa; Dario Argento and Lamberto Bava and Roberto Curci. Amongst the many topics discussed are film censorship, classic detective stories and Mario Bava with Argento recalling the work he did on 'Inferno' and son Lamberto remarking he'd watched so many films on Italian TV and discovered his father had done the effects and photography on many of them. It's an informative and revealing documentary which amply rewards the time invested by the viewer.

'Helen Cattet and Bruno Forzani'. An appreciation of 'Blood And Black Lace' by the creative team behind 'Amer' and 'The Strange Color Of Your Body's Tears'. The pair talk about Bava's career; the erotic elements of the genre and agree that Mario is"The father of the giallo'.

'Yellow' (26m 2s)
A crowd-funded, award-winning neo giallo from Ryan Haysom and Jon Britt, which is set amongst the neon lit Berlin where a serial killer is at large.

Driven by a suitably atmospheric score, 'Yellow' follows an old man on the hunt for the murderer who commits his bloody crimes in time-honoured giallo fashion. This compelling short is well paced, manages to cram some interesting set pieces in it's short running time and begs repeated viewings to fully appreciate.
There's a 3m 24s trailer for 'Blood And Black Lace' up next, which is followed by 'Gender And Giallo' (38m 1s); a visual essay by Michael Mackenzie (whose brother David did the encoding for this disc). Michael explores the giallo's relationship with the social upheavals of the 1960s and 1970s; defines exactly what constitutes a giallo; analyses scores, costumes, the preoccupation with social mores and looks at the M-giallo and the F-giallo.

The commentary is accompanied by clips from the likes of 'Death Walks At Midnight', 'Lizard In A Woman's Skin', 'Short Night Of The Glass Dolls', 'The Fifth Cord' and others. It's an extremely informative piece that fully justifies it's presence on this disc.
'Blood And Bava'. (11m 21s) This is an audio panel discussion with Dario Argento, Lamberto Bava and Steve della Casa recorded in 2014 at Cour Mayeur film festival. Stories include Bava's work on 'Inferno', a Bill Friedkin/Alfred Hitchcock anecdote and how a drunken Sacha Pitoeff was dealt with on the set of 'Inferno'.

'The Sinister Image' (56m 25s) This contains 2 episodes of David Del Valle's TV series that were devoted to Cameron Mitchell. This really is worth its weight in gold as Cameron holds forth on some of the director's and fellow artists he's worked with, which resembles a who's who of a golden age of cinema. He recalls having to leave a theatre at the age of 12 during Bela Lugosi's portrayal of 'Dracula'; the time he had to shoot Miriam Hopkins in the back; his role in 'Death Of A Salesman' play and feature ("it was never meant to be a film") and offers generous praise for British actors. The interview includes clips from 'My Favourite Year', 'Gorilla At Large (with Cameron and David donning 3D glasses), 'Blood And Black Lace' and 'The Offspring' amongst others, and Cameron explains why he held Mario Bava in the highest regard amongst all the directors he'd worked with. I was left with a genuine sense of regret when the interview ended as I could hav listened to another couple of hours in the company of two men who have earned the highest respect in their respective fields.
The extras conclude with the 1m 56s US opening, which is an imaginative alternate credit sequence, created by Filmation for US release. It was sourced from Joe Dante's private print and scanned in high definition.

We're not quite finished yet, as there's a booklet containing writing by Howard Hughes, Alan Jones, David Del Valle and Anton Bitel. 'The Glamour House Of Horror' by Howard Hughes notes the additions to the Krimi formula, goes into the history of some of the locations used and notes the exteriors were often "worthy of "Jack The Ripper" victoriana".
'Whodunnit: The Usual Suspects' follows, giving the lowdown on the cast members in the frame for the murders in 'Blood Adn Black Lace', and includes career resumes. Two fine pieces, and make sure you install Howard's books on your 'must buy' list .
Next up is 'Joe Dante Remembers The Genius Of Mario Bava', which is an Alan Jones Shivers magazine feature from November 2000. Joe remembers the first Italian Horror film he saw was 'Black Sunday'; explains why he travelled long distances to see classic horrors at the cinema and of inserting a long homage to Bava in the middle of his first film (Hollywood Boulevard). This was written for the revised and expanded version of Troy Howarth's 'The Haunted World Of Mario Bava' book.
'Bava's Avenger' by David Del Valle takes a look at Cameron Mitchell's film and TV career, from 'The High Chaparral' ( a series my wife and I both watched in different countries during our formative years)to his work for Bava.
There's also a short piece on 'Yellow' from Ryan Haysom and a review of this film by Anton Bitel which explores the films influences and places it as "casting a modern eye back on the old school" which is a beautifully observed comment.This booklet contains some great colour stills from the film, and there's also notes on the transfer and disc production credits.

'Blood And Black Lace' is available to buy now. It's region A and B, and also comes as a beautiful steelbook.

Early days to be thinking about best discs of the year lists, but the film, and it's remarkable restoration and quality extras is destined to be one of the best packages of the year.

Blu-ray Review: The Girl Who Knew Too Much (Arrow Video)

The genius of Mario Bava has inspired countless film director's; past, present and almost certainly future.
Tim Burton, Joe Dante and Martin Scorsese are just a few of the famous names to draw inspiration from the Italian maestro, and his gripping thriller 'The Girl Who Knew Too Much' (1963) remains a massively influential film which kickstarted the 'Giallo' sub-genre.

The film begins on a flight from New York to Rome where Nora Davis (Leticia Roman) is indulging in her hobby of reading Italian murder mysteries. Her concentration is rudely interrupted by a man in the adjoining seat who insists she takes a pack of his cigarettes. When the plane lands, her new-found friend is promptly arrested by the police.
Nora has travelled to Rome to visit her ailing Aunt, and intends to spend a month sightseeing and helping her relative. Before long, she's introduced to Dr. Marcello Bassi (John Saxon) who is her Aunt's physician and destined to start a relationship with Nora. On her first night in Rome, Nora must deal with the death of her Aunt and is then thrown headfirst into her own murder mystery when she is mugged by an opportunist thief. Upon waking from this violent assault,she sees the body of a woman with a knife in her back. A man appears and pulls out the knife, before Nora sinks back into unconsciousness. The police and authorities refuse to believe her tale, leaving her to attempt to solve the murder on her own, just like the characters in her beloved thrillers.

Mario Bava felt the storyline of his film to be preposterous, preferring to focus on the technical aspects which are undeniably impressive. However, 'The Girl Who Knew Too Much' has much to enthuse over with delightful performances from Saxon and Roman; a plot that's a joy to follow and some great set pieces which anticipate some of Bava's future work including 'A Drop Of Water' ('Black Sabbath') and 'Blood And Black Lace'. Behind the camera, the whole production is a triumph. Lighting here is particularly impressive, with the monochrome photography capturing the night time menace of a beautiful city; imposing architecture and shadowy apartments conveying the terror Nora is experiencing.
Arrow's disc also includes an alternative cut of the film, titled 'The Evil Eye'. Running for almost 7 minutes longer than 'Girl', this variant removes all references to Marijuana, includes more comedic interplay between Roman and Saxon and replaces the original score with Les Baxter's more ominous contribution. Look out for the ex news hack played by Dante Di Paolo, who is identified as George Clooney's Uncle by Alan Jones in his video introduction to the film (more on that later).

Far from being just an ode to Hitchcock - though strong influences are certainly present - 'The Girl Who Knew Too Much' continues to delight and bewitch to this very day, and Arrow Video's Blu-ray release will surely please both seasoned admirers and also those new to the Bava fold.

Image quality on both films is pleasing, with the Italian version winning out. Grain is present on the former, while 'Evil Eye' is smoother, though both have an abundance of detail and good black levels making it a solid addition to Arrow's Mario Bava Collection. There is some minor print damage, but nothing to spoil your enjoyment.
The disc includes a Tim Lucas commentary track. As usual, Tim's contribution is invaluable, delivering cast and crew career information and highlighting various aspects of the plot and how various effects were achieved. Tim makes many observations, including the significance of ladies' dress patterns and first names, and discusses why Bava elected to shoot this in black and white. The tension between the director and John Saxon is also chronicled, which is later amplified on one of the extras. Another informative and thought-provoking commentary from the best in the business.

The extras continue with 'All About The Girl'; a 21 minute selection of interviews where Luigi Cozzi, Richard Stanley, Alan Jones and Mikel Koven set the film in its proper historical perspective, praising Bava's ingenuity and acknowledge the film's place in the giallo sub-genre. Jones declares he's seen all of Bava's films at the cinema - which makes most of his audience envious - and nice to hear the name of Umberto Lenzi mentioned in 21 minutes that simply fly. Kudos to High Rising Productions for another quality addition to an Arrow Blu-ray.
There's also a 9 minute John Saxon interview, where the great man recalls how he got the role in 'The Girl Who Knew Too Much', and details why he and Bava didn't exactly get along famously.
Alan Jones also pops up to give a 3 minute introduction to 'Girl', explaining Bava's film was originally meant to be a light, romantic thriller, and there are Italian and American trailers to round of this release.

Arrow have also included a 28 page booklet, containing notes on the transfer,and a well-written piece from Kier-La Jenesse.
Mario Bava's final black-and-white production has a fitting showcase for its many delights and is an essential purchase that nicely rounds off a terrific year for UK video labels.

Blu-ray Review: Rabid Dogs

Mario Bava's 'Rabid Dogs'(1974) had a troubled production history to say the least.
With the lion's share of the film completed, the production company went bankrupt, and Mario Bava never got to see it released. Actress Lean Lander paid off various debts and acquired distribution rights, but things never really got off the ground. Eventually, Alfredo Leone purchased the film and Mario's son, Lamberto, filmed new footage which was married to a re-orchestrated score. The new version was titled 'Kidnapped', and appears alongside 'Rabid Dogs' on Arrow Video's new Blu-ray release.

The films begins with a robbery at the Gaboni Pharmaceutical Company where guns and a knife are used in a bloody heist. When the driver of the getaway car is shot dead, Doc (Maurice Poli) takes the wheel and finds his problems are only just beginning. His accomplices - the lecherous 'Thirty Two' (George Eastman) and psychotic 'Blade' (Don Backy) - are a tough duo to handle, indulging in menance and molestation when they kidnap Maria (Lea Lander) in order to shake off close police attention. A child and a remarkably cool travelling companion (played by Riccardo Cucciolla) are also abducted, with the former seemingly requiring urgent hospital attention. Doc and his teammates share an exceptionally callous attitude towards their captives, constantly humiliating the frightened woman, and also insisting the life of the child means nothing to them. It's a harsh and brutal regime to contend with and as the majority of the running time takes place within the confines of a car, it's also claustrophobic in the extreme. Even exterior scenes when the film moves to outdoor locations bring no relief, for the viewers or for the shell-shocked hostages, delivering carnage and a supremely difficult to watch scene as Doc struggle to control his men.

'Rabid Dogs' - thanks to Bava's considerable talents and the efforts of various parties - is a totally compulsive crime drama that's a world away from resurrected Baron's, ghostly little girls and fashion houses of death, though it ultimately shares one of his recurring themes: that the line between the living and the dead is wafer-thin.
As previously noted, 'Kidnapped' features a new score (which, for me, fails to eclipse the tense 'Rabid Dogs' soundtrack) and new footage, which includes additional heist footage, and introduces a tearful woman who's in telephone contact with the police on several occasions. See which version you prefer, and if you're watching for the first time, you'll enjoy following events right up to the twist ending.

Image quality on Arrow's Blu-ray release is exemplary, with bold colours, strong detail and healthy fleshtones which only depart for several very brief periods when an alternative source had to be used.

The supplementary material begins with a commentary track from Tim Lucas, editor of the essential 'Video Watchdog' magazine, and author of the wonderful Mario Bava book, 'All The Colors Of The Dark'. Tim delivers valuable cast and crew information; discusses the film's production history, and also finds time to clear up a few misconceptions. He also calls 'Rabid Dogs' the film of a young man, and highlights just how much of an accomplishment it was. It's another fine track from a historian who must surely the best in the business when it comes to increasing our enjoyment and understanding of film.
The commentary is followed by 'Bava And Euro Crime' - a 9 minute interview with Umberto Lenzi. Here, the director tells of his admiration for Bava (who he didn't get to know as a friend), and of Ricardo Freda and his influence on Bava. He also discusses the organised crime scene in Italy, and of police and security forces who were behind the times.
It's good to see Lenzi contributing, and his presence brings further authority to this release.
'End Of The Road: Making Rabid Dogs And Kidnapped'runs for just over 16 minutes and features interviews with Alfredo Leone, Lamberto Bava and Lea Lander. Mondadori mystery novels are discussed, and there's further amplification on the film's troubled production history and financial woes. It's a treat to see these important figures discuss past events, and somewhat moving too, when we consider the road to the film's completion outlived its illustrious director.
'Semeaforo Rosso' Alternative Opening Sequence' follows, being a 92 second alternative credits sequence: a nice addition for the completist's amongst us.
The package is rounded off with another of Arrow's excellent booklets, this one featuring writing on the film from Peter Blumenstock, Michael J Carroll and Helen Mullane. Notes on Tim Lucas' translation and the transfer are also included, together with some wonderful stills.

Arrow's Mario Bava collection continues to bestow reverential treatment on one of the most important film director's ever, and I wholeheartedly recommend this latest instalment.

Blu-ray Review. Mario Bava's I Tre Volti Della Paura / Black Sabbath.

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"Mario Bava's I tre volti della paura (The Three Faces Of Fear) horror anthology was released in 1963, and went on to debut in America as Black Sabbath. The two versions have differences in terms of dialogue and music, with AIP toning down and altering material they deemed had pushed the envelope too far. Thanks to Arrow Video's superlative Blu-ray release, we can now enjoy the two versions in high definition."

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"In the Italian version, The Telephone kicks things off, with Rosy (Michelle Mercier) receiving a series of malicious calls that appear to be from her former pimp Frank, who has just got out of jail. Instead of calling the police, Rosy calls her former lover Mary (Lydia Alfonsi), terrified that Frank is apparently privy to her every move, even down to her varying states of undress. Although The Telephone is the least of the three stories on offer, it does deliver a fine line in tension, amplifying Bava's premise that fear has stalked mankind throughout all the ages. In the Black Sabbath cut, AIP turned this section into a supernatural tale with Frank reaching out from beyond the grave to wreak vengeance on the living, and omitted any suggestion of a lesbian affair between Rosy and Mary. While I much prefer the Italian version, AIP's cut is well worth a view, and fascinating in its own right."

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"The second story in the Italian version is The Wurdalak, starring Mark Damon as young nobleman Vladimir Durfe, whose discovery of a headless corpse leads him to the house of a terrified family who await the return of head of the household Gorca (played by Boris Karloff in his last great role. The Wurdalak of the title refers to a vampiric being who is compelled to drink the blood of those he loves the most. In this Italian version, child abduction is just one of the horrors we must contend with, and the sight and sound of the aforementioned offspring begging to be let into the house because "I'm cold" is one of the genre's most chilling. The Wurdalak really is a remarkable piece of filmmaking, with a fog-shrouded locale, some exquisite lighting and a wonderfully chilling performance from Karloff turning it into the stuff of nightmares."

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" The AIP cut placed The Wurdalak as the final story. In the Italian version, it's sandwiched between The Telephone and our final story, The Drop Of Water. Here, Jacqueline Pierreux plays Helen Chester, who is summoned to attend the corpse of a just deceased medium, whose death face will haunt you for many months after. When Chester takes a shine to the medium's ring, that fine line betwixt the living and the dead is once again breached. Here, the Italian and AIP cuts differ in several areas; notably the use of score versus sound effects, and the depiction of Chester as cold hearted in her attitude to the dead. With its sumptuous lighting and haunting other-wordly sound effects, The Drop Of Water is perfectly placed to end this trilogy of terror as a genre gem that remains every bit as frightening as it must have done all those years ago."

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"Arrows Blu-ray will surely please admirers of this film,with a pleasing transfer. Both transfers exhibit some inherited minor wear, but depth and detail are good as well as colour reproduction. On the extras front, Bava-ites will enjoy Tim Lucas' commentary track which provides valuable career resumes of the cast, and insight and interpretation with regard to the visual and thematic information on offer. Tim was also involved with the excellent 'Twice The Fear' featurette which uses split-screen to examine the major differences between the two versions. It's a fascinating 32 minutes, taking each segment and highlighting variations in music, dialogue, sound effects and footage. One particularly interesting aspect is the score. Roberto Nicolosi did the honours for the Italian version, while Les Baxter scored the AIP version. I have to give the thumbs up to Nicolosi here, who knew when to let the music fade and the sound effects take over. See what you think. There are also trailers to enjoy, a terrific 40 page booklet (featuring a Samuel Z. Arkoff interview,and writing by Tim Lucas and David Cairns), a video introduction by Alan Jones and a 20 minute Mark Damon interview. Although Damon only mentions in brief his time with Mario Bava, his interview is a total delight with the names of Groucho Marx, Roger Corman and Clint Eastwood popping up."

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"Arrow's Blu-ray package is highly recommended and destined to be on many best-of-the-year lists come the end of 2013."

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