{"id":2593,"date":"2013-02-13T17:13:45","date_gmt":"2013-02-13T16:13:45","guid":{"rendered":"http:\/\/www.electricsheepmagazine.co.uk\/reviews\/?p=2593"},"modified":"2013-02-13T17:13:45","modified_gmt":"2013-02-13T16:13:45","slug":"black-sunday","status":"publish","type":"post","link":"http:\/\/www.electricsheepmagazine.co.uk\/reviews\/2013\/02\/13\/black-sunday\/","title":{"rendered":"Black Sunday"},"content":{"rendered":"
\"\"<\/a>
Black Sunday<\/figcaption><\/figure>\n
\n

\nFormat:<\/B> Blu-ray + DVD

\nRelease date:<\/B> 4 February 2013

\nDistributor<\/B> Arrow Video

\nDirector:<\/B> Mario Bava

\nWriters:<\/B> Ennio De Concini, Mario Serandrei, Mario Bava, Marcello Coscia

\nBased on the short story ‘Viy’ by:<\/B> Nikolaj Gogol

\nOriginal title:<\/B> La maschera del demonio<\/I>

\nCast:<\/B> Barbara Steele, John Richardson, Andrea Checchi

\nItaly 1960

\n87 mins\n<\/p>\n<\/div>\n

Mario Bava was not only a clever genre specialist, but one who helped kick-start nearly every commercial genre in Italy in the 50s and 60s with the exceptions of the Spaghetti Western and the sex comedy, though he eventually did those too. He photographed (and part directed) I Vampiri<\/i>, the first real Italian horror film, and Caltiki the Immortal Monster<\/i>, a science fiction monster movie. He also shot Hercules<\/i>, the first of the mythic muscleman epics of its day. His Blood and Black Lace<\/i> (aka Six Women for the Murderer<\/i>) is arguably the first true giallo<\/i> movie, or at least the one that crystallised the various elements of the genre into a single film. And Black Sunday<\/i>, aka The Mask of Satan<\/i>, began the tradition of supernatural Gothic horror than ran luridly amuck over Italian, and then international screens throughout the 60s.<\/p>\n

Following the success of Hammer\u2019s Dracula<\/i>, Bava (working as director and cinematographer) took a less famous literary source, Nikolai Gogol\u2019s ‘Viy’, which he and his screenwriters adapted pretty freely, slathering it in morbid and sadistic imagery. Filming in black and white, Bava pays more attention to grotty or dribbly textures than his English precursors, with bubbling fluids around a freshly branded letter S in leading lady Barbara Steele\u2019s back, the waxy, eyeless visage of her corpse, crawling with tiny scorpions, and the pale, viscous blood\/paint that slowly drops from a glinting shard of glass\u2026<\/p>\n

Steele is the film\u2019s star twice over, playing the innocent heroine and her vampiric ancestor. A graduate of art college and the Rank Charm School, she spent the early 60s filming in Italy, her native land having proved incapable of recognising the potential of her porcelain features and huge heavy-lidded eyes. The most important eyes in horror cinema since Karloff\u2019s – augmented by Bava with lighting tricks and special effects, even replaced at one point by a pair of poached eggs!<\/p>\n

As a jobbing filmmaker, Bava could make good use of available locations, but he excelled at studio work where he could absolutely control the lighting and create wholly artificial worlds. Black Sunday<\/i>\u2019s Moldavian countryside is almost entirely artificial, alternating between spacious, ornate interiors and exteriors that sometimes barely exist apart from foreground twigs and dry ice fumes \u2013 and Bava\u2019s atmospheric lighting.<\/p>\n

Though not notably sophisticated as a piece of screenwriting \u2013 his films generally rely more on lighting, composition, movement, sound and design, rather than dialogue or acting \u2013 Bava\u2019s first movie as sole director shows his wide cinematic knowledge, visually quoting everything from White Zombie<\/i> to David Lean\u2019s Oliver Twist<\/i> and Disney\u2019s Snow White and the Seven Dwarfs<\/i> (crossed with Jacques Tourneur\u2019s The Leopard Man<\/i>). He also layers the film with visual motifs and rhymes, deploying eyes, windows, reflections, and long, tense right-to-left pans, which sometimes come full circle to their point of origin, Bava\u2019s crew presumably crouching on the floor to stay out of shot, or else trotting around the camera ahead of the advancing lens.<\/p>\n

While Bava\u2019s films don\u2019t usually scare me much, the wandering corpse in Black Sabbath<\/i>, popping up everywhere like Droopy, frightens the blue Jesus out of me, and there\u2019s a sudden transformation from child to zombie in his last film, Shock<\/i>, accomplished without any special effects, which caused me to leave fingerprints in the cat. Black Sunday<\/i> strikes me as more pleasurably Halloweeny, spooky and fun and gorgeously eerie, with just enough sheer nastiness to give it a slight edge.<\/p>\n

Arrow\u2019s sumptuous Blu-ray comes with intros, interviews, commentary by Bava scholar Tim Lucas, and a whole movie as extra: the aforementioned I Vampiri<\/i>, a testing ground for some of the tricks Bava perfected in Black Sunday<\/i>. It\u2019s quite a package.<\/p>\n

David Cairns<\/B><\/I><\/p>\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

Black Sunday<\/i> is pleasurably Halloweeny, spooky and fun and gorgeously eerie, with just enough sheer nastiness to give it a slight edge.
\nReview by David Cairns<\/B><\/I><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[11,3],"tags":[169,575,108,111,146,574,576],"class_list":["post-2593","post","type-post","status-publish","format-standard","hentry","category-check-it-out","category-dvds-and-blu-rays","tag-60s-cinema","tag-barbara-steele","tag-giallo","tag-horror-film","tag-italian-cinema","tag-mario-bava","tag-witch"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","wps_subtitle":"","jetpack_shortlink":"https:\/\/wp.me\/purUP-FP","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":2941,"url":"http:\/\/www.electricsheepmagazine.co.uk\/reviews\/2013\/05\/29\/black-sabbath\/","url_meta":{"origin":2593,"position":0},"title":"Black Sabbath","author":"Pam Jahn","date":"May 29, 2013","format":false,"excerpt":"Mario Bava\u2019s visually alluring anthology film comes back to life in two beautifully restored versions. 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So promises the radio spot for Mario Bava's seminal slasher. 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