1960 was a blood-red year for the vampire’s kith and kin, with over a half-dozen variations on the theme. There is an international flavor to these sanguine offerings, with blood-drinkers prowling crypts in England, France, Mexico, and Italy; at least one is ensconced inauspiciously in an American flower shop. Some are old-school nosferatu of the Gothic horror variety; others have a decidedly sexier style than seen in classic horror films of earlier eras; one or two are mutant science fiction off-shoots. Some are ugly; others are handsome or beautiful. Some favor old-fashioned black-and-white photography, emphasizing the spooky atmosphere of the crypt and cemetery; others are bold and beautiful in modern color. One or two are classics; others are camp; some might be dismissed as Euro-trash (or celebrated for their daring sexiness, depending on the critic). In short, there such a rich diversity of undead revenants and blood-drinking monsters that it is hard to generalize; you have to take each on on its own terms. Here then is a Photographic Retrospective of the Vampires of 1960.
ATOM AGE VAMPIRE (Seddok, l’erede di Satana)
Our first vampire title (alphabetically speaking) is more of Jekyll-and-Hyde mad scientist film, in which “vampirism” is of the most figurative sort: stealing glands of young victims in order to rejuvenate the beauty of a disfigured woman is a sort of modern variation on draining the life essence. The original Italian title is less misleading, translating roughly as “Seddok, the Heir of Satan.”
BLACK SUNDAY (a.k.a. THE MASK OF SATAN)
Italian director Mario Bava’s atmospheric masterpiece of black-and-white horror features two magnificent vampires: Barbara Steele as Princess Asa and Arturo Dominici as Ygor Yavutich (four if you count two of their victims who return from the dead). Burned alive as witches, Asa and Yavutich return from the grave to drain the blood and/or life force of Asa’s descendants. The result is one of the great horror films of all time.
BLOOD AND ROSES (Et Mourir de Plasir [“To Die with Pleasure”])
Next up is French filmmaker Roger Vadim’s ambiguous adaptation of Carmilla, the excellent Victorian vampire novel by J. Sheridan LeFanue. Vadim modernizes the setting and presents a dreamlike atmosphere that leaves the question of vampirism open to debate, yet the film contains memorable imagery that should satisfy fans of the undead.
THE BRIDES OF DRACULA
Hammer Films’ first sequel to HORROR OF DRACULA suffers from the absence of Christopher Lee as the Count, but there is an interesting alternative in the form of David Peel as a blond, boyish vampire named Baron Meinster. He also has some lovely brides to keep him company. This English film is one of the best of its kind, even if there is no Dracula in it.
THE CURSE OF NOSTRADAMUS
This interesting Mexican variation on the vampire motif presents the son of the famous oracular prophet, who rises from the grave intent on establishing a cult devoted to magic and the supernatural. So confident is he of his powers that he appears to a renowned scientist and declares his intention of killing thirteen victims, even naming the time and place, just to show how unstoppable he is. German Robles makes a fine, aristocratic vampire, even if bad dubbing undermines the effectiveness for English-speaking viewers.
THE LITTLE SHOP OF HORRORS
Before graduating to eating body parts and/or whole human, Audrey the plant begins by drinking the willingly offered blood of Seymour Krelboin, the goofy would-be botanist who created her. Producer-director Roger Corman’s campy classic, written by Charles B. Griffith, is not quite as funny as intended, but it is so weird it has to be seen to believed.
THE PLAYGIRLS AND THE VAMPIRE (L’Ultima Preda Del Vampire [“The Last Prey of the Vampire”])
Another Italian entry in the vampire genre, this one offers a sexier slant on the old blood-suckers.
THE VAMPIRE AND THE BALLERINA (a.k.a. L’amanti del Vampiro [“The Vampire’s Lover])
This off-beat Italian entry in the vampire sweepstakes is tame on its own terms, but it offers some of the first suggestions of the more explicitly sexual approaches to the theme that will emerge later in Continental vampire films (see THE PLAYGIRLS AND THE VAMPIRE, above). Along with a couple of fetching female vamps, the film also features one of the ugliest undead this side of NOSFERATU’s Graf Orlock.
THE WORLD OF THE VAMPIRES (El Mundo de los Vamiros)
This eccentric Mexican vampire film features vampires that, for some reason, can be disabled by particular sound waves, leading to a dubious conclusion in which the villain is defeated by someone playing a tune on a pipe organ. Gotta give ’em credit for off-the-wall originality, if nothing else.
Following up on the Cinefantastique Horror, Fantasy & Science Fiction Podcast 1.26, Dan Persons, Lawrence French, and Steve Biodrowski delve deeper into the mysteries of director Mario Bava and BLACK SUNDAY, not to mention the distinction between giallo and Gothic horror. BLACK SUNDAY was Bava’s directorial debut, and its reputation is so grand among fans that many think he never topped it; however, the CFQ Podcast crew suggest a few subsequent titles worthy of standing side-by-side with Bava’s black-and-white masterpiece: WHAT?, BLOOD AND BLACK LACE, DANGER: DIABOLIK, BAY OF BLOOD, and LISA AND THE DEVIL.
No new genre films hit theatres this weekend, but fear not: Dan Persons, Lawrence French, and Steve Biodrowski once again rev of the time machine and take you five decades into the past, for a look at one of the greatest horror films of all time, director Mario Bava’s masterpiece of black-and-white Gothic horror, BLACK SUNDAY (a.k.a. THE MASK OF SATAN, 1960), starring the Queen of Horror, Barbara Steele. It’s all part of Cinefantastique’s on-going celebration of 1960’s Horror, Fantasy & Science Fiction Films. Also on the menu: a weekly round-up of news, upcoming events, and home video releases.
Following up on this week’s in-depth discussion of EYES WITHOUT A FACE, Dan Persons, Lawrence French, and Steve Biodrowski launch into an informal chat about horror, fantasy, and science fiction films of 1960, including BLACK SUNDAY (which will become the subject of a future podcast in August). Also on the menu: another look at DESPICABLE ME and reaction to the news that writer-director Guillermo Del Toro will be helming a film based on Disneyland’s Haunted Mansion theme park attraction, reviving a franchise that has lain dormant since the disappointing 2003 version of THE HAUNTED MANSION, starring Eddie Murphy.
1960. The beginning of a turbulent decade: civil rights, riots, sit-ins. On screen, however – at least as far as mainstream Hollywood is concerned, it is still business as usual, with the Academy of Motion Picture Arts and Sciences handing out an unprecedented number of Oscar to the overblown historical epic, BEN-HUR. If you are searching cinema for hints of the societal tensions that will explode over the course of the next few years, you will have to look elsewhere, to genres that allow buried fears to surface in disguised forms. You have to look to cinefantastique.
What did 1960 have to offer in terms of horror, fantasy, and science fiction films? Essentially, the year was part of a transitional period. Science fiction, which had dominated genre film-making throughout most of the 1950s – with fears of communism disguised as enlarged insects, other-worldly creatures, and various atomic mutations and monsters – waned toward the end of the decade, replaced by a resurrected horror genre, which focused on visceral, bodily fears. While England’s Hammer Films, who had revived the Gothic tradition with new incarnations of Dracula and Frankenstein, continued their successful streak, filmmakers in America and Italy sought to cash in on their success. Japan – long a supplier of giant monsters – showed that they could scale their terrors down to size. Horror was becoming international in scope. But unlike the classic horror of yesteryear, the new films hit closer to home, with stories hinting that the bastions of normality, far from being impervious strongholds, might, in fact, be the source of horror.
PSYCHO and HOUSE OF USHER – even BLACK SUNDAY, to some extent – trace the etiology of terror back to the family, once a sacrosanct institution. Playing to the target teen audience, USHER’s depiction of horror is closely aligned with age: the white-haired Roderick (Vincent Price) stands between the film’s two young lovers. Though technically the brother of Madeline Usher, he exhibits all the signs of parental authority, and one of the illicit thrills of the film is seeing the old authority figure go down in flames along with his house.
Also, in 1960 it is hard to identify the “monster” by mere looks; now he – or she – may walk among us, unnoticed until it is too late. Norman Bates seems to be a nice, shy boy. PEEPING TOM’s Mark Lewis is likewise likable. The new Mr. Hyde, in Hammer Films’ version of the familiar tale, is a handsome bon vivant, not a deformed maniac. The bottom line is this: the safety zone is smaller, if it exists at all; watching the skies for alien invaders is pointless, when the attack is more likely to come from within one’s own neighborhood or household, perhaps even one’s own self.
Although 1960 saw horror exploding on screens around the world, science fiction and fantasy were not entirely absent; they continued, sometimes offering an optimistic counterpoint, sometimes including monsters menacing enough to populate a full-blown horror film. Producer George Pal took us into a future populated by subterranean Morlocks. Stop-motion maestro Ray Harryhausen, who had switched from science fiction (EARTH VS. THE FLYING SAUCERS) to fantasy (THE 7TH VOYAGE OF SINBAD) sent Gulliver to Lilliput. The great Ingmar Bergman took time out from his more serious work to send Don Juan back to Earth from Hell.
Another sign of the times was the trend toward color photography. The low-budget black-and-white science fiction – which had once proliferated like pod people in a green house – withered away to almost nothing. Not every genre film had a hefty budget, but even modest productions like HOUSE OF USHER and DINOSAURUS made the effort to look lavish and glossy, thanks to widescreen and/or color – and if not more lavish, then at least more lurid, thanks to the occasional flash of blood, which registered with much greater impact when viewers could see the deep crimson dripping on the screen.
Exactly how many horror, fantasy, and science fiction films were released in 1960? That depends on how you define the genres, and whether you include foreign titles that might not have reached our shores until later. Below we do our best to round up the relevant titles. Read on to get a taste of what the genre had to offer fifty years ago…
-1960 SCIENCE FICTION FILMS-
THE AMAZING TRANSPARENT MAN. The career of the talented Edgar G. Ulmer (1934’s THE BLACK CAT) seemed on a downhill slide with this low-budget effort, scripted by Jack Lewis, about a mad scientist who intends to use an invisibility formula to create an army of invisible zombies. ATOMIC WAR BRIDE. This 84-minute Yugoslavian film (known as Rat in its native land) is an alleged satire on the insanity of nuclear warfare. BATTLE BEYOND THE SUN (Nebo zovyot). Russian film about a race to land the first rocket ship on Mars. Directed by Mikhail Karzhukov and Sleksandr Kozyr, from a script Karzhukov co-wrote with Yevgeni Pomeschchikov and Aleksei Sazanov. Francis Ford Coppola (working under the pseudonym Thomas Colchart) re-edited the film and shot new footage for the U.S. release. BEYOND THE TIME BARRIER. Another film from director Edgar G. Ulmer, this one from a script by Arthur C. Pierce, about a test pilot who inadvertently rockets into a future time, when the ruler wants him to procreate because the male population has gone sterile. THE CAPE CANAVERAL MONSTERS. Phil Tucker, producer of the infamous ROBOT MONSTER, wrote and directed this dismal little ditty, a 69-minute stinker about aliens from outer space who possess the bodies of a man and a woman who died in a car accident. The disembodied aliens are visualized as simple white circles of animation floating across a black screen, an effect reprised at the end to suggest the defeated extraterrestrials will be back for more mayhem – a fate that, fortunately cinema audiences were spared. DINOSAURUS. This sci-fi effort from the team that gave us THE BLOB (1958) is built around a great premise for a cool action-thriller: an island resort is menaced by a pair of prehistoric reptiles accidentally dredged up from the harbor; the brontosaurus turns out to be friendly enough, but the Tyrannosaurus Rex is hungry! The isolated setting forces the characters to defend themselves without help from the army or even much in the way of firepower; they have to rely on whatever is available, leading to a clever confrontation between the Rex and a steam shovel at the climax. The script throws in a cave man as well, who is used mostly for comic relief. In general, the writing, directing, and acting are competent but not outstanding. The stop-motion miniature dinosaur effects may amuse fans for the technique, but only very young viewers will be convinced by them. All in all, this is a pleasant popcorn experience, but it is easy to imagine a better film being made from the central idea. NOTE: Producer Jack H. Harris had hoped that this would be his “forever movie,” the one that lasted in people’s imaginations, because it had more lavish production values than THE BLOB, and it was distributed by a major studio. Although the film turned a profit, it did not become a classic; meanwhile, memories of THE BLOB live on. THE HUMAN VAPOR. Director Ishiro Honda and special effects supervisor Eiji Tsuburaya, the team behind such Toho productions as GODZILLA and RODAN, focus on a human-sized monster for a change: a librarian (Yoshio Tsuchiya) who gains the ability, courtesy of a scientific experiment, to turn himself into a vapor. Cross-breeding science fiction with cop-and-robbers, the script by Takeshi Kimura has the titular human vapor use his abilities to rob banks. The original Japanese titles literally translates at “First Gas Person.” THE LAST WOMAN ON EARTH. Odd-ball effort from producer-director Roger Corman, starring Betsy Jones-Moreland, Antony Carbone, and Robert Towne (who wrote the script) as the last three people left alive on Earth, leading to the ultimate love triangle as the two men vie for the affections of the sole remaining woman. Although shot in color and widescreen, this little movie is a low-budget affair, too slowly paced (in spite of its 71-minute running time) to stand up even as a solid cult film; fortunately, it does have a few things going for it, such as the effective depiction of a depopulated world, realized on location in Puerto Rico with streets full of empty cars abandoned in the middle of the road. The ending even works up a little genuine interest, refusing to cop out with a happy resolution. THE LEECH WOMAN. This black-and-white B-movie from Universal Pictures is too cheap and shoddy to be really good, but like THE WASP WOMAN (see below), it offers some interesting insights on the 1960 male attitudes toward women and aging. It’s about some anthropologists who accompany an old crone back to her village in the jungle, where she reveals a secret that restores her youth; the catch is that the process requires a human victim to work. June Talbot (Coleen Gray) appropriates the secret for her own personal use, more than wiling to have men pay the price for extending her youthful appearance indefinitely. Although June is clearly the villain, the film offers her some measure of sympathy: her first victim is a two-timer who gets what he deserves, and the dialogue explicitly notes the double standards that apply to men and women as they grow older (men earn greater respect, while women are cast aside as worn out and useless). THE LOST WORLD. Irwin Allen’s remake of the 1925 silent classic substitutes live-action lizards for stop-motion dinosaurs. There is a decently sweaty atmosphere to the jungle scenes as Professor Challenger (Claude Rains) leads a team in search of surviving prehistoric reptiles. Michael Rennie (THE DAY THE EARTH STOOD STILL), Jill St. John (DIAMONDS ARE FOREVER), and David Hedison (THE FLY) fill out the cast, but the humans cannot make up for the fact that we don’t get to see convincing dinosaurs. Charles Bennet wrote the script, based on the fine adventure novel by Sir Arthur Conan Doyle. MAN IN THE MOON. This British comedy, directed by Basil Deardon from a screenplay by Bryan Forbes and Michale Relph, stars Kenneth Moore as a man chosen to be the first to make a flight to the moon. The premise is that Moore’s character is a professional medical test subject who has proven to be highly resistant to disease, so scientists preparing a moon mission decide to use him as a guinea pig, sending him to the moon before any real astronauts go. SHIP OF MONSTERS. 81-minute black-and-white Mexican film about women from Venus who coming looking for male breeding stock. When the hero refuses to comply, the Venusians unleash monsters. The ploy does not work, and they return home, defeated. THE SILENT STAR (Der Schweigende Stern). Based on a novel by Stanislaw Lem (SOLARIS), this German-Polish film from DEFA (East Germany’s state-run Deutsche Filmaktiengesellschaft) was intended as serious science fiction effort, with a high-class production values, including color, widescreen, and four-track stereo. However, when it reached American shores in 1962 as FIRST SPACESHIP ON VENUS, the English-dubbed, re-edited version was unimpressive indeed, providing well-deserved fodder for an episode of MYSTERY SCIENCE THEATER 3000. Fortunately, the original version is now available on DVD and VOD. It’s still not great, but it is better. SPACE MEN (a.k.a. ASSIGNMENT: OUTER SPACE). Italian film directed by Antonio Margheriti (CASTLE OF BLOOD), about a reporter, assigned to a beat aboard a space station, who must disable the photon generators of an errant space ship, the radiation from which is threatening Earth. THE TIME MACHINE. George Pal, who had produced THE WAR OF THE WORLDS in 1953, returns with another adaptation of H.G. Wells, and this time Pal steps into the director’s chair. The story has time traveler Rod Taylor heading to the future, when society has been divided into two segments: one weak and passive, living on the surface; the other strong and cannibalistic, living underground. Wells’ original was a sort of satiric imagination of the direction in which society might be evolving: it’s the bourgeoisie and proletariat taken to extremes; Pal substitutes the idea that things got this way because of nuclear war. This was quite a lavish production for its time; although some of the special effects trickery is visible at the seams, the work is colorful and engaging enough so that you want to forgive the flaws. Overall, this is an enjoyable effort, though not quite as astounding as WAR OF THE WORLDS. VILLAGE OF THE DAMNED. Excellent, suspenseful science fiction film about the misadventures of a small English town, where the residents wake up after a mysterious bout of narcolepsy, and nine months later the women give birth to children with strange powers (including Martin Stephens of THE INNOCENTS). The always entertaining George Sanders plays the man who first tries to teach the children (who have a nasty habit of using their telepathic powers to bump off those who offend them) and later tries to destroy them, putting his own life at risk. VISIT TO A SMALL PLANET. Jerry Lewis stars in this film version of the Gore Vidal Broadway play (which had made its debut as a television drama). Lewis plays an alien who comes to Earth and falls in love. Unfortunately, along with love, come less pleasant emotions, which may not be worth the price. Vidal’s original was a satire about an alien who wanted to study the Civil War; when he arrives too late – in the 20th century – he decides to start a new war. THE WASP WOMAN. This little black-and-white movie, produced and directed by Roger Corman, casts the striking Susan Cabot as Janice, head of a large cosmetics firm, who resorts to wasp enzymes in order to arrest the aging process. The treatment works; unfortunately, it also morphs her into the titular Wasp Woman from time to time. It is hard to take this thread-bare production seriously; its monster is obviously a riff on THE FLY (1958), but the makeup and production values are no real competition for the earlier film. Still, THE WASP WOMAN retains a flash of interest. It’s a male, sexist depiction of how beautiful women handle aging, going to such desperate lengths that they turn themselves into monsters. ALSO OF NOTE: In order to get the running time up to the minimum length needed for a television sale, Jack Hill added a prologue sequence. (NOTE: THE WASP WOMAN was shot in 1959, and some sources list it as having been released in October of that year; others list the release date as February 12, 1960.) WORLD WAR II BREAKS OUT (Dai-sanji sekai taisen: Yonju-ichi jikan no kyofu). This Japanese film from writer-director Shigeaki Hidaka (with a directorial assist from William Ross) portrays the tragic consequences for Japan when a nuclear war erupts between the USA and the Soviet bloc.
-1960 FANTASY FILMS-
THE 3 WORLDS OF GULLIVER. The men behind THE 7TH VOYAGE OF SINBAD (1957) – producer Charles H. Schneer, actor Kerwin Matthews, and (most importantly) special effects supervisor Ray Harryhausen – reteamed for this film version of Jonathan Swift’s Gulliver’s Travels. Although much of the Swiftian satire is lost in the screenplay by Arthur A. Ross and director Jack Sher, the film emerges as another colorful showcase for Harryhausen’s visual effects. Without much in the way of monsters to animate, Harryhausen focuses on the miniature and composite effects necessary to make Matthews look either larger or smaller than everyone else (depending on which of the three worlds he is in at the time). The result is an adequately entertaining fantasy for children. Swift fans will probably prefer the original novel. Harryhausen fans will probably prefer anything with more monsters. THE DEVIL’S EYE. Writer-director Ingmar Bergman’s fantasy-comedy is based around the folk saying that a woman’s virtue is like a stye in the Devil’s Eye. In this case, Satan (Stig Jarrel) sends Don Juan (Jarl Kulle) up from hell in order to seduce a virtuous vicar’s daughter (Bibi Andersson). Bergman’s comedies (such as SMILES OF A SUMMER NIGHT) are not so much “funny” as they are light-hearted counterpoints to his more serious work. Unfortunately, this film has never been released on Region 1 DVD. FAUST. A German film version of Goethe’s play, starring Will Quadflieg as Dr. Faust and Gustaf Grundgens as Mephistopholes. Unavailable on Region 1 DVD, the color, 128-minute film has a decent rating on IMDB. GOLIATH AND THE DRAGON (La vendetta di Ercole [“The Vendetta of Hercules”]). This is one of many Italian beefcake epics from the era; many were simply muscle-men movies, but others included fantasy elements, often borrowed from Greek mythology. In this film, Goliath/Hercules (Mark Forest) battles giant bats, a three-headed dog, and a dragon. Broderick Crawford (from the 1941 version of THE BLACK CAT and, later, television’s HIGHWAY PATROL) provides a little American name value as King Eurystheus. LA TESTAMENT D’OPHEE. The last film from the highly regarded surrealistic filmmaker Jean Cocteau (BEAUTY AND THE BEAST) portrays an 18th century poet who travels through time seeking divine inspiration. THE WILD BEAST OF CRETE. Inspired by Greek mythology, this Italian peplum film is about an evil ruler in Crete, who keeps the dangerous man-monster hybrid the Minotaur at bay by sacrificing island virgins. THE WIZARD OF BAGHDAD. Dick Shawn and Diane Baker star in this comedy spin on THE THIEF OF BAGHDAD, written by Jesse Lasky Jr. and directed by George Sherman.
-1960 HORROR FILMS-
13 GHOSTS. Gimmicky William Castle film, written by Robb White, for which audience members were given special tinted glasses that allowed them to see the ghosts on screen. ATOM AGE VAMPIRE. Italian rip-off of EYES WITHOUT A FACE (see below), with a mad doctor who is able to turn himself into a monster, so that he can abduct women in order to use their skin to restore the face of his disfigured daughter. THE AVENGER. Germanpsycho-thriller set in England, about a killer who decapitates his victims and sends the heads through the mail. Based on an Edgar Wallace novel. BLACK SUNDAY. Widely regarded by fans as a genre masterpiece, BLACK SUNDAY is a magnificent work of black-and-white horror, filled with wonderfully atmospheric effects and punctuated by moments of brutality quite grizzly for their time. Also known as “The Mask of Satan,” ”Mask of the Demon,” or “Revenge of the Vampire” (depending on the country of release), the film simultaneously harkins back to the Universal classics of the 1930s and emulates the then-contemporary verve and dynamism of Hammer Films productions like HORROR OF DRACULA (1958). The result is a unique piece of Gothic visual poetry that retains its power to thrill and entertain with all the tenacious vivacity of its centuries-dead vampire-witch, who refuses to lie quietly in her grave. This marks the official directorial debut of cinematographer Mario Bava, who would craft several excellent horror and science fiction films over the course of the next two decades. BLOOD AND ROSES. French director Roger Vadim’s adaptation of J. Sheridan LeFanu’s Carmilla has its defenders, but the Overlook Film Encyclopedia: Horror faults it for “stilted performances…bathetic dialogue, and direction too prosaic to achieve the necessary intensity.” THE BRIDES OF DRACULA. This is Hammer Films’ first sequel to their 1958 classic, HORROR OF DRACULA. Made at the height of the studio’s success, BRIDES OF DRACULA features the familiar elements (beautiful color cinematography, lavish sets, solid writing, strong performances), making this a worthy heir to its predecessor. However, it is perhaps most notable for the obvious absence of the king of vampires, Count Dracula; instead, we get a blond, youthful vampire named Baron Meinster (David Peel). Directed with assurance by Terence Fisher, BRIDES is lavish and beautiful, filled with interesting ideas and memorable scenes. In the end, however, this sequel cannot surmount the absence of Count Dracula. Having dispatched the Vampire King in the previous film, Professor Van Helsing (Peter Cushing) is the Gothic equivalent of the world’s heavyweight champ, and Baron Meinster is a comparative light-weight, making his defeat feel like a foregone conclusion from the very beginning. CIRCUS OF HORRORS. Anton Diffring gives a fine performance in this lurid film directed by Sidney Hayers, from a script by George Baxt about a crooked plastic surgeon who evades the police by assuming a new identity as the proprietor of a travelling circus – which soon becomes famous (or infamous) for a series of tragic accidents, which seem only to increase tickets sales. Besides the visceral kick of trapeze artists falling to their deaths, or lion tamers mauled by the big cats, the film gets its biggest charge from Diffring’s character – essentially a tempermental artist who fashions his female patients to suit his classical ideas of beauty, and then destroys them when no longer satisfied with his own results. Not exactly reputable, but fascinating to watch. Donald Pleasence (YOU ONLY LIVE TWICE) appears early on, as the previous circus owner, mauled to death in a drunken stupor by his favorite performing bear. CITYOF THE DEAD (a.k.a. HORROR HOTEL). This excellent spookfest – about student who gets more than she bargained for when she goes to a small New England town to do research on belief in witches – stops just short of being one of the all-time great horror films. It is drenched in black-and-white atmosphere, and things that should be wrong actually end up helping: the budget-dictated lack of exteriors location shooting, plus the English actors trying to sound American, combine to create a limbo-like feeling, as if the film is set in its own weird little universe. The only drawback is that director Moxie lays it on so thick that sometimes you have to giggle. Fortunately, he redeems the misstep with the wonderful finale – one of the greatest endings you will ever see in a horror film. CREATURES OF THE WALKING DEAD. A mostly forgotten Mexican horror film about a mad doctor’s great grandson, who inherits the family castle and revives his ancestor. THE CURSE OF NOSTRADAMUS. Entertaining opening salvo in Mexico’s series of films about the vampiric son of the famous prophet. Nostradamus fils (Germain Robles) is as much super-villain as vampire, revealing his existence to a professor and challenging him to prevent a series of 13 murders that blood-sucker proposes to commit (all of this is to prove that the powers of darkness and the supernatural are far stronger than those of modern science). The clever concept is somewhat marred by bad dubbing in the U.S. versions, but the film is richly atmospheric, with nice Gothic sets benefiting from some fine photography, and Robles is impressive in the title role. Three sequels followed. THE CURSE OF THE DOLL PEOPLE. Mexican horror film on the voodoo theme. DOCTOR BLOOD’S COFFIN. A surgeon exhume the body of his receptionist’s husband and attempts to implant a living heart. The wonderful Hazel Court is the receptionist – perhaps the only point of interest to this obscure flick. EYES WITHOUT A FACE (Les Yeux sans Visage, 1960). This brilliant film from director Georges Franju is a compelling and clinically brilliant combination of French art film and shock horror. The plot reads like little more than conventional B-movie schlock: Doctor Genessier, driven by guilt for disfiguring his daughter in a car accident, is the archetypal mad scientist who will stop at nothing to restore her face – even murder. What raises the film to the level of a masterpiece is the thorough conviction with which the story is treated, at all levels: the performances, direction, photography, and art direction – all combine to create a world in which fragile, poetic beauty is periodically shattered by clinical horror. The juxtaposition of the contrasting imagery is, in some miraculous fashion, entirely seamless, all part and parcel of the same picture, never feeling gratuitously grafted on. The result is not merely frightening but also genuinely disturbing – and thoroughly engrossing from start to finish. This is the first “art” horror film, and it’s cross-over appeal between the art house and the grindhouse should not be overestimated. THE FLESH AND THE FIENDS. Black-and-white British horror movie, written and directed by John Gilling (THE REPTILE, PLAGUE OF THE ZOMBIES, THE GORGON), based on the true-life story of Burke and Hare. Peter Cushing stars as Dr. Knox, the surgeon-teacher who pays the grave robbers to provide corpses for his anatomy students. Donald Pleasence co-stars. THE HANDS OF ORLAC. Mel Ferrer stars in this film, one of several adaptations of the Maurice Renard novel about a pianist who loses his hands in an accident and has the hands of a murderer grafted on in their place. Christopher Lee co-stars. HOUSEOF USHER. With this thick slice of atmospheric horror, producer-director Roger Corman (mentioned only a few paragraphs ago in reference to THE WASP WOMAN) finally got a chance to prove that he could handle a relatively lavish and respectable film. Though still working on a small budget, Corman put together an excellent team that provided lots of bang for the buck, including cinematographer Floyd Crosby and production designer Daniel Haller. Based on Poe’s “The Fall of the House of Usher,” the screenplay by Richard Matheson has a bit of trouble expanding the story to 80 minutes, but it manages to convey the gist of the original, while providing an excellent vehicle for star Vincent Price, who became this generation’s heir to the throne of Boris Karloff and Bela Lugosi. Corman and Price would go on to collaborate on numerous, even better Poe-based movies, but this is the Big Bang that started it all. HOUSE OF TERROR (La Casa Del Terror). Infamous patchwork Mexican film featuring comic star Tin Tan, which is known in the U.S. in a radically altered form as FACE OF THE SCREAMING WEREWOLF. Lon Chaney Jr. is on hand as resurrected mummy who turns out to be a werewolf. Wow! THE INVISIBLE CREATURE. Innocuous variation on the familiar story of a scheming adulterous couple out to kill the man’s wife. This twist is that their plot is foiled by the titular invisible creature, a poltergeist. Also known as THE HOUSE IN MARSH ROAD.
JIGOKU. That’s Japanese for “Hell” – in the Buddhist sense. Nobuo Nakagawa, who had previously helmed GHOST STORY OF YOTSUYA (1959), directed and co-wrote this bizarre movie about damnation. Nakagawa is sort of the Japanese equivalent of Terence Fisher or Roger Corman, who were active in England and America, respectively, around the same time, and this is probably his most impressive effort. JIGOKU is divided into two sections. The first two-thirds focuses on a grad-school student led into temptation by his Mephistopholean friend, although in this case, temptation consists mostly of passively not doing the right thing, as opposed to actively performing evil actions. This portion of the film goes on a bit long, as we encounter numerous other characters performing actions that will send their souls into perdition; fortunately, it is redeemed by some eccentric stylistic flourishes: the tempter friend is never shown entering a scene; his arrival is heralded by off-screen sound effects (e.g., a train), and then the camera angle shifts to reveal his sudden presence. The film really takes off when everyone dies and goes to hell, at which point, Nakagawa more or less drops the usual tropes of narrative cinema in favor of aiming the horror straight out of the screen at the viewer. In what amounts to an early form of torture porn, we witnesses the various punishments inflicted on the damned (such as having limbs hacked off) for all eternity. Definitely a must-see. GHOST CAT OF OTAMA POND. Writer Yoshihiro Ishikawa, who had contributed to the script’s for Nakgawa’s GHOST STORY OF YOTSUYA and BLACK CAT MANSION (1958), takes a place in the director’s chair for this Japanese horror effort, one of many “ghost cat” movies that were popular around this time. The fairly typical story is filled with intrigue and murder; as usual for this type of tale, the unjustly dead extract vengeance in the form of a cat. THE HAUNTED CASTLE. A German comedy in which the ghosts of a gang of thieves help a financially strapped Countess to overcome her money problems. THE HELL OF FRANKENSTEIN. Mexico’s stab at the Frankenstein story features a body snatcher who gains control of Frankenstein’s creation and uses it to carry out his revenge against those who imprisoned him. THE LAST VICTIM OF THE VAMPIRE. This is the second of two Italian vampires films starring Walter Brandi released in this year. The story has five show girls taking refuge in a castle, where Brandi plays both a friendly count and his vicious vampire ancestor. From available descriptions, it sounds as if the focus is less on horror than on the skin revealed by the showgirls. Also known as THE PLAYGIRLS AND THE VAMPIRE.
THE LITTLE SHOP OF HORRORS. Roger Corman certainly deserves some recognition for being the only film-maker with three titles on this list. LITTLE SHOP OF HORRORS is a cult horror-comedy about a goofy guy who accidentally cross-breeds a carnivorous plant – which not only craves humans for food, but also talks. (“Feed me!”). Except for a couple of cops doing a dead-pan DRAGNET impersonation, the performances tend to be broad, and not everything works, but the film is so off-the-wall ithat you have to sort of like it anyway. Essentially, this is a remake of Corman’s earlier BUCKET OF BLOOD: both films, scripted by Charles B. Griffith, feature lonely losers who accidentally become murderers while seeking fame and success. Although LITTLE SHOP has gained greater fame because of its talking plant (leading to an off-Broadway musical that was turned into a 1986 movie), it is the lesser of the two films; its skid-row setting (indicative of the poverty row production values) offers some comic potential, but it is no match for the Beatnik coffee house of BUCKET. Still, you can’t totally knock a film that so joyfully embraces its own absurdity. THE MASTER OF HORROR. Argentinian anthology featuring episodes based on three Poe tales: “The Facts in the Case of M. Valdemar,” “The Cask of Amontillado,” and “The Tell-Tale Heart.” MILL OF THE STONE WOMEN. Italian horror film, dedicated to Hammer director Terence Fisher, about a professor who drains blood from beautiful women so that he can inject it into his daughter. The victims are turned into statues, which attract the attention of an art student. MY FRIEND JEKYLL. Italian spoof, about a professor who transfers his personality into the body of a teacher at a girl’s school, where he tries to organize orgies with the students. PEEPING TOM. Michael Powell – a renowned director known for such wonderful films as STAIRWAY TO HEAVEN (a.k.a. A MATTER OF LIFE AND DEATH, 1946) – more or less destroyed his career with this impressive study in voyeuristic horror. It’s about Mark Lewis (Carl Boehm), a crazy camera operator who has a strange compulsion: he likes to kill beautiful women while recording their deaths on film. Steeped in Freudian psychology, the screenplay by Leo Marks has several parallels with Hitchcock’s PSYCHO (both feature likable young men who turn out to be serial killers), but Powell’s film is in some way the more disturbing of the two, perhaps because Mark is more self-aware than Norman, lacking a split personality to keep the likable side of himself separated from his murderous impulses. There is also something about the obvious seriousness of intent that gets under you skin: if you go to PEEPING TOM just looking for a thrill ride, you may be disappointed, but if you allow yourself to be drawn into its world, it will creep you out.
PSYCHO. This low-budget black-and-white shocker is one of the great achievements in the horror genre, although it eschews the monsters and supernatural trappings usually associated with the genre at that time, in favor of a psychologically based approach to terror. As producer Howard Hawks had done with THE THING FROM ANOTHER WORLD, producer-director Alfred Hitchcock took the familiar horror movie clichés and reused them in a new, contemporary setting. Although a realistic tale (loosely—very loosely—inspired by actual events), the approach to filming is full-blown Gothic. The lonely road and the rain the drives a victim to seek shelter where there is only danger—this is the stuff of classic horror movies, as is the spooky house, a fine 20th Century stand-in for Dracula’s castle. And of course, the lurking menace hiding in the attic or the basement—what more could you ask of a horror movie? THE SNAKE WOMAN. Another film from the team behind DR. BLOOD’S COFFIN, about a mad doctor whose injections inadvertently turn his daughter into a cobra. THE STRANGLERS OF BOMBAY. Although loosely based on the real-life Thuggee cult, whose members killed travelers during the British occupation of India, this Hammer Film earns its place in the horror genre thanks to the fine effort by director Terence Fisher, working from a script by David Zelag Goodman. The story has Captain Harry Lewis (Guy Rolfe) eager to investigate the disappearances of numerous locals. Although the film does not apologize for colonialism, it is smart enough to cast a cynical eye on Lewis’s superiors in the army, whodismiss his concerns, claiming that the Indian populace have a tendency to wander off simply because don’t have the same ties to family and home that the superior English do. Lewis’s pursuit of the truth loses him his job and puts his own life at risk, leading to a confrontation with the cult of Kali, in the form of a high priest played by George Pastel (THE MUMMY). Here, the film enters horror territory, played out in the form of a battle between Lewis’s pet mongoose and the cult’s cobra. In a startling moment, the life-or-death struggle becomes more than two animals fighting, taking on a larger symbolic significance as the creatures embody the opposing forces of light and dark, good and evil. Although not as famous as other Hammer films, this ranks very highly. THE TELL-TALE HEART. A short but fairly well regarded British feature-length treatment of Poe’s story, with a screenplay co-written by Brian Clemens (THE AVENGERS). TERROR OF THE TONGS. Like THE STRANGERLS OF BOMBAY, this is not exactly a horror film; it’s more of a crime melodrama, but the association with Hammer Films, the British House of Horrors, drags it into the horror genre. It’s about a British sea captain (Geoffrey Toone), who runs afoul of the “Red Dragon Tong” while in Hong Kong. Christopher Lee (who deserves credit for being the only actor to show up three times on this list, with appearances in CITY OF THE DEAD, HANDS OF ORLAC, and TWO FACES OF DR. JEKYLL) plays the Tong’s evil leader, Chung King (yes, he wears slant-eyed makeup). This is not one of Hammer’s best efforts, but the captain’s pursuit of the Tong, no matter the odds against him, generates considerable interest. And the film features one of cinema’s most diabolical lines of dialogue when Chung King, preparing to torture our hero, asks him, “Have you ever had your bones scraped?” TORMENTED. Producer-director Bert I. Gordon, more known for sci-fi flicks like THE AMAZING COLOSSAL MAN, tries his hand at a supernatural thriller, scripted by George Worthing Yates. Richard Carlson (THE CREATURE FROM THE BLACK LAGOON) plays a jazz pianist, whose engagement to a wealthy heiress is jeopardized by his mistress – until said mistress conveniently falls from the top of a lighthouse. However, the spirit of the dead woman, whose body is never found, returns to torment her lover; the haunting is visualized with special effects of crawling hands and ghostly footprints. The film aims for a fatalistic tone by focusing on a protagonist who deserves – and eventually succumbs to – the terror being visited on him, but it doesn’t quite come off. The film was spoofed on MYSTERY SCIENCE THEATER 3000. THE TWO FACES OF DR. JEKYLL. Bold and colorful, this imaginative and original take on the old Robert Louise Stevenson tale, smartly scripted by Wolf Mankowitz, is one of the best and most underrated efforts from Hammer Films. After the box office success of CURSE OF FRANKENSTEIN in 1957 and HORROR OF DRACULA in 1958, THE TWO FACES OF DR. JEKYLL sees Hammer pushing the boundaries of the horror genre, emphasizing the drama, characterization, and even philosophic undertones. Director Terence Fisher eschews the usual suspense set pieces in favor of lavish, widescreen production values that suggest an opulent costume drama rather than a tawdry terror tale; with a few exceptions, the horror on display is moral rather than visceral. Unfortunately, this sophisticated approach was not a success, and after another ambitious failure a year later (with THE PHANTOM OF THE OPERA), Hammer horrors would retreat to more conventional territory. THE WITCH’S MIRROR. A fairly well regarded Mexican horror film about a witch who enables her murdered god-daughter to extract vengeance against the faithless husband who murdered her. WORLD OF THE VAMPIRES. An eccentric Mexican variation on the vampire theme, in which for some reason the undead can be disabled by particular sound waves, leading to a dubious conclusion in which the villain is defeated by someone playing a tune on a pipe organ. THE VAMPIRE AND THE BALLERINA. Also known as THE VAMPIRE’S LOVER, this Italian production stars Walter Brandi in an attempt to cash in on the recent success of the Hammer Dracula films. It was followed later the same year by THE LAST VICTIM OF THE VAMPIRE (see above). THE VIRGIN SPRING. Director Ingmar Bergman’s film (one of the few he did not write himself) is not really horror, but its story, based on a legend of a father (Max Von Sydow) taking revenge for his daughter’s murder, earned a place in horror history when it served as the basis for Wes Craven’s THE LAST HOUSE ON THE LEFT (1972), which was subsequently remade in 2009.
Originally published on July 2, this article has been updated with subsequent entries.
PSYCHO, which opened on June 16, 1960, recently celebrated its 50th anniversary, leading to numerous retrospectives on the Internet, including this week’s Cinefantastique Horror, Fantasy & Science Fiction Podcast 1:20. The accolades were well deserved, because five decades later, Alfred Hitchcock’s film still stands as one of the towering achievements in the horror genre; however, it is worth remembering that other great genre films were released the same year, including PEEPING TOM and HOUSE OF USHER (also covered in the podcast). In fact, 1960 was something of a banner year: although the number of titles released was relatively small (about half as many as last year, for example), many have endured as classics worthy of inclusion on any all-time best list: BLACK SUNDAY, THE BRIDES OF DRACULA, CITY OF THE DEAD, EYES WITHOUT A FACE, JIGOKU, THE TWO FACES OF DR. JEKYLL.
With that in mind, it seems like a nice idea to launch a blog-a-thon celebration of 1960’s horror, fantasy, and science fiction films. We have invited our contributors to cast their minds back through the mists of time and summon forth their memories and impressions of these classic efforts, with an eye toward defining why these films have endured and why, fifty years later, they are still worth watching. As with our previous blog-a-thon (Favorite Nightmares from Elm Street), the posts will be serialized, meaning that each entry will contain, at the bottom, a linked list of all other posts in the series, making it easy for you to navigate back and forth.
Being Cinefantastique, we already have a head-start on the theme, with several reviews and retrospectives already in our archives. Unfortunately, our Serial Posts feature, which automatically links the series together, allows a post to belong to only one series; consequently, these pre-existing posts may not show up, if they were already assigned to some other series. In order to avoid any omissions, I am manually including links to relevant articles that already exist in our archives:
BLACK SUNDAY – retrospective article: Mario Bava’s classic black-and-white nightmare of vampirism and witchcraft, starring the Queen of Horror, Barbara Steele
BLOOD AND ROSES – retrospective look at director Roger Vadim’s adaptation of “Carmilla.”
THE TWO FACES OF DR. JEKYLL – review: under-rated but very inventive variation on Robert Louis Stevenson’s tale, from Hammer Films
Over the coming days and weeks, we will be adding more, so check back from time to time as we add entries on everything from DINOSAURUS to THE TIME MACHINE, from THE 3 WORLDS OF GULLIVER to o THE LITTLE SHOP OF HORRORS, from BRIDES OF DRACULA to JIGOKU to TERROR OF THE TONGS .
All in all, 1960 was a very good year.
Widely regarded by fans as a genre masterpiece, BLACK SUNDAY is a magnificent work of black-and-white horror, filled with wonderfully atmospheric effects and punctuated by moments of brutality quite grizzly for their time. Also known as “The Mask of Satan,” “Mask of the Demon,” or “Revenge of the Vampire” (depending on the country of release), the film simultaneously harkins back to the Universal classics of the 1930s and emulates the then-contemporary verve and dynamism of Hammer Films productions like HORROR OF DRACULA (1958). The result is a unique piece of Gothic visual poetry that retains its power to thrill and entertain with all the tenacious vivacity of its centuries-dead vampire-witch, who refuses to lie quietly in her grave.
In 17th century Moldavia, Princess Asa (Barbara Steele), along with her servant Igor Yavutich (Arturo Dominici), is sentenced to death for practicing witchcraft—by having a spiked mask nailed onto her face. Two hundred years later, Dr. Gorobec (John Richardson) and Dr. Kruvajan (Andrea Checchi) stumble into her crypt when their coach breaks down on the way to a convention. Kruvajan cuts his hand while defending himself from a bat. On their way out, they meet Asa’s descendant, Princess Katia (also Steele), whose father (Ivo Garrani) lives in fear that the witch’s curse will claim the life of his daughter.
Later that night, Kruvajan’s blood revives Asa. Now an undead but immobile vampire, Asa summons Yavutich from the grave; her servant lures Kruvajan back to the crypt, where Asa drains the rest of his blood. Sought to help Katia’s ailing father, the vampirized Kruvajan kills him instead, then disappears.
Dr. Gorobec, who has fallen in love with the young princess, offers to clear up the mystery, with the help of a local priest (Antonio Pierfederici). They trace Kruvajan to the cemetery and destroy him by driving a wooden stake through his eye. Meanwhile, Yavutich has abducted Katia, bringing her to Asa’s tomb, where the vampire-witch drains off her lifeforce—the last ingredient she needs to become fully mobile. Returning to the crypt, Gorobec almost stakes the unconscious Katia—until he sees the cross around her neck. When the priest arrives with a throng of villagers, Gorobec uses the cross to reveal Asa’s true identity. The mob burns her at the stake; as she dies, her lifeforce drains back into Katia, reviving her for the happy ending.
The script, loosely based on a short story by Nikolai Gogol called “The Vij,” has a plot hole or two; for example, why does Asa need Katia’s life-force to become mobile, while Yavutich is fully functional from the beginning? Fortunately, the carefully crafted mise-en-scene sweeps away any reservations, providing numerous memorable images: the stone coffin that explodes to reveal Asa’s revived body; the pockmarked face of the witch after the spiked Mask of Satan has been removed; the eerie, slow-motion coach ride, with secondary vampire Igor Javutich lashing the horses forward (an obvious visual quote from DRACULA’s coach ride, yet in many ways superior). Director Mario Bava (who also photographed) uses trick photography and lighting effects to create a stark Gothic atmosphere, then injects decidedly adult elements of violence and eroticism. More than anything, the film is an exercise in visual style, demonstrating that camera movement, composition, and lighting can combine to create a splendidly cinematic work that far outshines any narrative weaknesses.
To a large extent, BLACK SUNDAY’s reputation rests on the convergence of two cult figures: Mario Bava and Barbara Steele. Bava was a talented cinematographer making his directorial debut, and Steele was a British actress who had moved to Italy after a career in Hollywood failed to work out. Bava went on to become a prolific director of horror, science fiction and fantasy films, and Steele became the reigning Queen of Horror (at least in Italy)—the closest cinema has ever produced to a distaff version of Bela Lugosi or Christopher Lee.
At the time BLACK SUNDAY was shot in late 1959 (under the title La Maschera Del Demonioin Italy), the traditional horror film had only recently come back in vogue after a decade dominated by science fiction monster movies. Having completed two films left unfinished by director Ricardo Freda, I VAMPIRI (1956) and CALTIKI THE IMMORTAL MONSTER (1959), Bava finally was given an opportunity to direct an entire feature film by himself when CALTIKI’s executive producer, Lionello Santi, showed his appreciation by offering Bava his choice of projects. Bava selected Nikolai Gogol’s “The Vij,” which was then adapted into a screenplay by Ennio De Concini and Mario Serandrei. About the only story element that survives in the film is the concept of a beautiful vampire-witch who emerges explosively from her coffin.
For the dual role of Asa/Katia, Bava selected British actress Barbara Steele, who had previously appeared with her co-star John Richardson in BACHELOR OF HEARTS (1958) while the two were under contract with J. Arthur Rank Productions in England. “It’s very odd that we both ended up being in the film,” she says. “I couldn’t understand why I was there. I had a little spread in Life magazine, and I think Mario Bava saw one of these photos. Anyway, he invited me to go to Rome, where I’d never been, and I must say I’ve never recovered. It’s a very small city, but it had such an optimistic and rich energy. It was an incredibly vibrant and voluptuous period: sunshine and jasmine and gorgeous men! So it was like a love fest really—especially coming from a repressed English environment.”
No doubt part of the reason for the casting decision was the Italian film industry’s concern with international market appeal. The casting of British actors in the leads would make his film seem more in the vein of recent Hammer productions like HORROR OF DRACULA (1958). And of course, shooting the film in English would make it easier to export to the United Kingdom and the United States. As Clint Eastwood would later do in his Westerns for director Sergio Leone, both Steele and Richardson spoke English while filming an Italian movie in Italy—a fact that is clearly visible when watching the film, even though both actors (unlike Eastwood) have been dubbed with other voices.
The Galatea-Jolly production then shot on the Titanus Studios in Rome, where Freda and Bava had worked on I VAMPIRI. “It was strange to go from this incredible Italian energy to this very dark, tomb-like set—which was totally monochromatic,” Steele recalls. “It’s supposed to take place in Russia, because it’s taken from a story by Gogol, but I must say, the film feels incredibly Nordic. It was very familiar, this landscape Mario Bava drew, because it reminded me of where I grew up in Scotland and Wales, a wild Gothic environment with wild storms. Looking at it, it’s just impossible to imagine that this film was shot in Italy! It’s extraordinary. It’s just inspired, really.”
Bava exploited Steele’s physique for the remarkable scene wherein the prostrate Asa seduces Kruvajan, her chest heaving erotically beneath her black gown while her voice urges him to approach. “They were so frantic that people wouldn’t notice,” she laughs. “I mean, I hadn’t had to breathe like that since I saw the doctor when I was five: Inhale! Exhale!”
Once filming was completed, different versions were prepared in the editing room for domestic release and for export. The Italian language prints contain one scene not present in any other version, a brief dialogue between Katia and her father by a fountain, wherein he expresses concern for her state of mind and promises to take her away from the family’s gloomy ancestral castle. Apparently, the dialogue is a remnant from an earlier script draft that was dropped from other cuts of the picture because it no longer fit; in the Italian version, this daylight scene is awkwardly intercut with the nighttime sequence of Igor Javutich’s resurrection!
An “international” version of THE MASK OF SATAN (as it was called) was then completed for export to English-speaking territories like the U.S. and England, with dubbing credited to George Higgens III. As was often the case in Italian film from this period, the original actors had their voices replaced even in their own language; neither Steele nor Richardson can be heard in any version. “The dubbing ended up as a plus for him and a minus for me, because in actual fact he has a much lighter voice,” says Steele of her co-star. “The deeper voice gave him a great presence, I thought.” Fortunately, the dubbing process could dim but not destroy the effectiveness of Bava’s visuals. The international version of MASK OF THE DEMON was eventually released in Britain in 1968 under the title REVENGE OF THE VAMPIRE. Prior to that, Americans saw a slightly different version in 1961, when American International Pictures released the film as BLACK SUNDAY. AIP co-founders Samuel Z. Arkoff and James H. Nicholson had seen the film in an Italian screening room during the spring of 1960. Arkoff thought it was “one of the best horror pictures I had ever seen.”2 Nevertheless, AIP edited, redubbed, and rescored the film for its U.S. release. It is a testament both to the power of Bava’s original film and to AIP’s handling of the American release MASK OF THE DEMON survived its transformation in BLACK SUNDAY. The U.S. version is not a complete hatchet job but a reasonably careful revision that removes a few sentimental moments, improves the lip synchronization of the vocal performances, and substitutes new music by the late ultra-lounge composer Les Baxter. The most serious flaw is an overabundance of caution that led to the trimming of several crucial moments of horror.
The result was fairly effective. The new dialogue actually follows the original English-language script more closely, and the voices are relatively indistinguishable from those in the international version—except for that of Constantine, Katia’s younger brother, who now speaks with the unmistakable voice of Peter Fernandez, who later dubbed the title character in the Japanese animated series SPEED RACER. Baxter’s score is too insistent upon emphasizing the suspenseful moments, but his romantic theme for Katia is a bit more subtle than Roberto Nicolosi’s: while using a similar arrangement of piano and strings, Baxter tones down the excess, with a few simple chords on the keyboard creating a suspended feeling somewhat less hokey than the original.4
The result became a big success not only in the United States but also around the world, and helped raise interest in releasing subsequent Italian horror efforts. “I don’t know who it made money for,” says Steele. “All I know is that several years ago I was in a screening room watching a private screening, and some distributor came up to me and said, ‘I just adore you.’ I asked him why, and he said, ‘We distributed BLACK SUNDAY in England, and it made eight to ten million dollars.’”
Despite its success, BLACK SUNDAY never generated a sequel. However, it was remade in 1989 by Bava’s son Lamberto, who had established his own career as a horror director with films like DEMONS (1985) and DEMONS 2 (1986).
Although clearly a product of its era, BLACK SUNDAY has not dated badly. The truncated AIP version, known to American fans, remains a powerful work, marred only slightly by the inevitable problems that arise in the process of dubbing and recutting a foreign import. Thanks to Image Entertainment’s DVD release, the film is now available in all its original glory, with its missing footage and original music intact. This international version of the film (bearing the original title THE MASK OF SATAN) restores a certain punch that increases the film’s effectiveness by contemporary standards.
The execution of Princes Asa has far more impact thanks to two shots that are allowed to run longer than in the American print. In the first, the witch has the mark of the devil branded into her flesh (actually a wax stand-in), and instead of cutting away as the brand is applied, the camera lingers until we can see the result. In the second restored shot, one of cinema’s great moments of brutality is rendered even more horrific: as the Mask of Satan is hammered onto the witch’s face with a mallet large enough to knock a mule unconscious, the shot no longer quickly fades to black but instead shows a fleeting moment of blood spewing from beneath the mask, driven forth by the impact. The credits that immediately follow are effectively superimposed over a medium shot of the titular Mask of Satan (instead of being seen merely against some nondescript flames), and we can see that the witch is still alive and breathing, with blood running down her neck.
Asa lures a victim to a fatal kiss.
The true highlight of the international version emerges after Asa has been reawakened in her tomb. Alive but still immobile, she draws her first victim to her prostate body with the mesmeric influence of her eyes. Steele’s heavy breathing in this scene is almost orgasmic, but the American print faded out on a close up of her face before she made contact with her intended victim. In THE MASK OF SATAN, at last you can see the lingering kiss that climaxed the scene.
Still later, there is an additional brief romantic interlude between Katia and Dr. Gorobec, who tries to convince the young princess not to give in to despair despite the horrible events occurring around her. The final restored moments occur near the climax, when Gorobec speaks several more lines of dialogue lamenting the apparent death of Katia, after her life-force has been drained by her vampiric ancestor. This helps to make Katia’s revival, as Asa is burned at the stake, seem like more of a surprise and less of a foregone conclusion.
The print used for the DVD transfer is in great shape, with only an occasional scratch here and there; the image, letterboxed to a 1:66 ratio, is clear and sharp, as is the Dolby Digital, monaural soundtrack. The special features are impressive as well: a brief Mario Bava biography, filmographies for both Bava and Steele, a theatrical trailer, and a gallery of photos and posters. The latter includes rare behind-the-scene shot of Bava being strangled by Arturo Dominici, who plays Javutich. Also of interest is a shot of Dominic modeling his vampire fangs, which are nowhere seen in the film. The disc also contains a transcript of the dialogue (translated by Christopher S. Dietrich and Lucas) from the missing scene between Katia and her father. Of course, it would have been nice to see the footage as a supplemental scene, but the transcript is an adequate substitute.
Tim Lucas’s audio commentary is a highlight of the DVD. He spews out trivia and behind-the-scenes anecdotes almost faster than you can keep track of, yet somehow, he never bores you with his expertise. He even does some interesting second-guessing about how some scenes in the final cut may have survived from previous drafts of the script; for example, Lucas suspects that the original intent may have been to have Asa replace and impersonate Katia at a much earlier point in the narrative. Unfortunately, Lucas does tend to overlook the film’s minor flaws, which mostly consist of a few risible moments in the dubbing. (My personal favorite: Dr. Gorobec advises the torch-bearing villagers on how to distinguish Asa from Katia: “She’s the witch. Don’t’ be deceived by her face—look at her body!”)
Overall, Image’s DVD is about the best presentation imaginable of the original version of the late Mario Bava’s masterpiece, short of getting an audio commentary from Barbara Steele herself. Unfortunately, this we are likely never to get, as Steele claims that trying to remember details of the filming is as hopeless as trying to remember the details of her high school prom. Nevertheless, in recent years she has come to acknowledge the film’s greatness in a way that she seldom did when while fighting the typecasting that resulted from her performance in it: “As an actress, it’s not exactly something that lets you do any tour-de-forcing,” she explained years ago. After reviewing the film, however, she has a more balanced view:
“Mario Bava made a brilliant, brilliant film, and I’m deeply grateful,” she says. “BLACK SUNDAY looks so exquisite to me as a film, today; frame for frame, it looks so beautiful. It’s like a Rembrandt. Visually, it is stunning, and that’s what cinema is: visuals and atmosphere. Really, it could be an incredible Silent Film—you could take the soundtrack right off, because it’s such a visual masterpiece.” BLACK SUNDAY (a.k.a. La Maschera del Demonio [“Mask of the Demon”], 1960). Directed and photographed by Mario Bava. Screenplay by Ennio De Concini and Mario Serandrei, based on “The Vij” by Nikolai Gogol; English dialogue by George Higgins. Cast: Barbara Steele, John Richardson, Andrea Checchi, Ivo Garrani, Arturo Dominici, Enrico Olivieri, Antonio Piefederici, Tino Bianchi, Ciara BIndi, Mario Passante, Renato Terra.