RETRO Reviews-The Whip and the Body

By J. Malcolm Stewart

Dalia Lavia in “The Whip and the Body”

Since we only hurt the ones we love, Fellow Ghouls, it’s fitting that our next review takes a look at Mario Bava’s La Frusta e il Corpo, (translation: The Whip and the Body). Tonight’s subject reminds me of words said by that great American poet, Clubber Lang; “My prediction is…pain.” And the pain is there for everyone to see in this long-lost 1963 classic.

Christopher Lee in “The Whip and the Body”

Before its restoration in 2007, Bava-lunatics had spent years dealing with inferior copies of this neglected masterwork. (How did all those pieces of hair used get into the projector anyway? Did someone have a paid position like Key Grip or something?) After flirting with the twin subjects of obsession and sadomasochism in earlier films, Il Maestro takes the gloves off in what might have been the most haunting (and controversial) film of his career. Along with one of the most celebrated figures in horror history.

Starring Christopher Lee (who had already rocketed to stardom in the English Hammer films) as the detestable Kurt and Israeli scream queen Daliah Lavi as Nevenka, La Frusta sets the stage with Lee’s Kurt coming home as a sinister prodigal son, seemingly ready to make peace with his younger brother (played by Tony Kendall) after years away. Ignoring the fact that he previously left a dead lover in his wake, our lovable villain seems hell-bent on returning to his place in the family and resuming his affair with Nevenka, not caring that she is now the bride of his before-mentioned brother.

Funeral still with German-language title

Making matters worse is the way that the affair resumes between Kurt and Nevenka. Let’s just say that… Kurt doesn’t believe in saying it with flowers. After a harrowing beach rendezvous between the two, Kurt ends up getting shanked like an extra from OZ. Despite the fact there’s a murderer in the house, Kurt’s death seems to bring a sigh of relief to everyone involved. (Believe me, Ghouls; you’ve got problems when the Klan shows up to be to be pallbearers at your funeral.)

Christopher Lee in action (German titles)

However, Kurt’s death proves a mere stepping stone into a story fraught with the presence of love, ghosts and madness. Bava never puts on the breaks on as the twisted affair between Kurt and Nevenka becomes more and more intense. Few audiences outside of Italy or France ever saw the uncut version of this film. The scourging scenes between the forbidden lovers, at the time, had maximum shock value. And the implied orgasm of Nevenka during one of Kurt’s assaults sent the frenzy against the film into overdrive. English language versions of the film cut all the direct and implied scenes dealing with sadomasochism. The many translations of the film’s title in English avoided even mentioning of the subject. American audiences were subjected to a confusing mess of a film titled Night is the Phantom (?) which had been fully subjected to the censor’s snip. Bava seemed to sense the flood of criticism that would be coming his way by releasing the English version of the film under the pseudonym of John M. Old. Not that it fooled many people.

Original Italian Release Poster

Nearly fifty years later, La Frusta is seen as ground breaker, a genre film that didn’t just bend boundaries, but shattered them. Many critics believe it softened the ground for Luis Buñuel’s 1967 sensation Belle de Jour which dealt with some of the same taboo subject matter (Keep your eyes peeled, Bava-heads, for  Buñuel’s homage to “Whip” in his film ). Lee and Lavi both highlight it as an exceptional performance in their early careers. And given the excellent restored version that’s now available, you now have a front row seat for this classic without all that pesky hair in the way.


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RETRO Review-Planet of the Vampires

By J. Malcolm Stewart

Alternate API poster for Planet of the Vampires (USA ed.)

Stop me if you’ve heard this one before, Fellow Ghouls. You are a group of intrepid space travelers whose flight through the cosmos is interrupted by a mysterious signal coming from an uninhabited wasteland of a planet. You land to investigate this signal. You come across a weird alien ship filled with the bones of a race of giants, lying dead in place at their navigation seats. Soon, you and your crew are infected with a parasitical evil, one that needs your body to survive….and breed. Yep, you’ve guessed it; you’ve just heard the plot to…. Mario Bava’s 1965 sci-fi thriller Terrore Nello Spazio ? (Commonly translated: Planet of the Vampires, but AIP released this film in English under several title names.) Apparently, in space, no one can hear you scream copyright infringement.

Barry Sullivan and Norma Bengall at the controls (API Video)

Yes, the influence of Il Maestro reaches far and wide in this, his only science fiction undertaking. Adapated from Renato Pestriniero’s short story “One Night of 21 Hours,” Bava’s film is blessed with a moody, backlit atmosphere that was uncommon for science fiction movies of the time. Starring American Barry Sullivan as Captain Markary and Brazilian bombshell Norma Bengell as Sanya, Vampires gives us some signature Bava moments with its set design, costuming and its mastery of the use of forced perspective. The monster moments of the film are a little muddled (We never are quiet sure what the creatures on this forbidden planet are… Ghosts? Undead? Psychic Phenomenon? Who knows? And given the budget constraints, who cares?) And the “twist” ending does come right down Main Street (Invasion of the Body Snatchers anyone?). But make no mistake, the scene and sets in this film are wonderful. And their influence has endured, despite all the denials to the contrary.

Planet of Vampires DVD cover (2007)

Both Ridley Scott and Alien screenwriter Dan O’Bannon pleaded ignorance of the Bava film when they made their 1979 sci-fi touchstone (Too bad. I can just imagine young Ridley punking younger brother Tony for the popcorn) However, given Bava’s influence in all realms of film making, there certainly was some thematic borrowing from him in the work of French graphic artist Moebius (RIP) and set designer Ron Cobb. Swiss creature designer, H.R. Giger takes the fifth on this one and given his Necronomicon work, you’ll need brass balls to bug him about it.

Cobb, who also worked on Star Wars, was certainly familiar with Bava given George Lucas’ generous use of forced perspective in that movie. The homage to Planet is evident, especially in the alien spacecraft scene (Fire the movies and compare for yourself, fellow ghouls). Also, Bava’s dead navigator at the controls is a motif that pops up again and again in Ridley’s films (Take that Charlize Theron!) It just proves once again, no one loves Trash Theater more than the guys who do the dirty work.

“Mini-Skirt Factor 6, Captain ?”

Of equal interest to Bava-lunatics is the possible influence of Planet on a certain American sci-fi TV series that would boldy go where no man has gone before in the following year of 1966. Now calm down Trekkies (or Trekkers or Tweakers or whatever you’re calling yourself now), I’m fully aware that Gene Roddenberry had versions of Star Trek in the hopper as early as 1960. I also know that good ol’ Gene had the concept rejected several times until he made aspects of it more, shall we say, young-male accessible? Which meant less high concept sf and more mini-skirts. Bava’s Planet crew has a passing resemblance to the Enterprise’s final make-up; tough, but loveable captain, crusty, older doctor, hot-chick communications officer.

Too bad Gene didn’t steal the idea of putting all his female leads in black vinyl uniforms like Planet did. It would have gotten him the Sir Mix-a-Lot seal of approval.


P.S.-Kudos to Ridley Scott for working in another tribute to “Planet of the Vampires” in his recent release, “Prometheus.” Small, but important homage to “P.O.T.V’s” discovery of the dead aliens’ method of activating their technology. Thanks Ridley from us triva buffs. Hope that makes up for all the lukewarm reviews…

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RETRO Review-The Mask of Satan


By J.Malcolm Stewart,

Hello, my fellow ghouls, J.M. here. It’s my pleasure to open up the crypt of horror history and see what’s been long buried. Like your 10th grade English teacher always told you, “Its time for a lesson in the classics.” Not the coma-inducing, Jane Austin-type of classics you suffered through in 3rd period. No, tonight (and for many nights to come) we have for your consideration a sampling of the horror movies that have come to define the genre that we all know and love.

These are the fundamentals in horror and suspense, often duplicated but never surpassed in theme, direction and influence. So, before you soil yourself over the latest Korean “possessed-by-evil-spirits” import, or go gaga for the newest, American “shaky cam” P.O.V. flick, check these films and filmmakers to get a “classic” take on what makes a good horror movie.

Few directors of any era have had more of an impact than Mario Bava. Devoted follows of horror and suspense have long known his films, but the last 10 years have seen a renaissance of interest in Bava from all corners of the film world. Such modern masters as Tim Burton, Roger Corman, Wes Craven, Ridley Scott and Guillermo Del Toro have borrowed, swiped and paid homage to Bava through their filmmaking. Bava was at ground zero of the international flood that was Italian cinema in the 50’s and 60’s. So it’s fitting that this first retrospective takes a look at his first film with him as the sole director: La Maschera Del Demonio 1960 (translated: The Mask of Satan- API English Title: Black Sunday).

Shot in black and white, La Maschera pays its respects to the Universal Studios horror masterpieces of the 30’s while stretching the envelope of what was considered acceptable by censors. Opening at a witch trial in 17th century Moldavia, Bava gives us a scene for the ages, rooted in actual Inquisition-style crime and punishment. The condemned witch, Asa , (played by future British scream queen Barbara Steele) is promptly bound, branded and staked in the face with a mask that proclaims her crimes against society and the church (Note to self: never get caught for being a witch in 17th century Moldavia). Before the clergy and good citizens of the town carry out this sentence, Asa delivers a curse for the B-Movie ages (the bad dubbing of the English version places this scene high in the cheeseball Hall-of-Fame). Despite the threats, the local yokels nail the mask on her face on with a mallet straight out of your local carnival strongman competition and call it a night. But as you all know, the fun is just starting.

Jump to two centuries later. A pair of doctors makes their way through the Moldavian countryside. When their carriage predictably breaks down, the doctors (played by John Richardson and Ivo Garrani) also predictably disturb the tomb where the witch Asa is resting. Their bumbling leaves her free to make good on her curse against her remaining family members who had her condemned, including her multi-great niece Katya (also played by Steele).

The rest of the movie plays out in classic horror fashion, full of rising dead people and budding romance. A pleasant turn is the surprisingly ass-kicking parish priest (played by Antonio Pierfederici) who helps the younger doctor end the evil of Asa. (Admit it; you would have gone to church more often if the priest showed you how kill the undead by stabbing them through the eye.) There’s even a throwback, “let’s-storm-the-castle-tonight!” scene straight off of the James Whale cutting room floor.

The plot may be unspectacular. What makes this film a game changer is its sets, its shots, and its attention to detail. The backgrounds and settings are still grand achievements of horror filmmaking. Bava’s eye for gloomy atmospherics and religious iconography make this a joy to watch in the modern digital versions. The trick shots still give the film a special crawl of eeriness. The silent carriage sequence still gives chills.

Also in favor of its importance was the black line given it by the API censors. The opening sequence of this film proved to be one of the most memorable of the early 60’s for its graphic depiction of Asa’s condemnation. Of course, when the censors cut out the gorier bits, this created a rush to see the “real deal.” Like all good horror fans, the kids of the English speaking world wanted to be as “traumatized” as their Italian counterparts. Throw in some sado-masochistic overtones and a legend was born.

But La Maschera won approval not just for its use of sex and violence as a theme of terror but also for its use of craft. Scenes from it have been evoked as recently as Burton’s Sleepy Hollow and Del Toro’s Pan’s Labyrinth. Rumor has it that Burton has long toyed with the idea of a remake. Check out the original in the meantime until someone figures out how to CGI 17th century Moldavia.

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