Dawn and lamplight, midnight, noon by the French as a caricature of a publicity- Sun follows day, night stars and moon loving surgeon who was frequently the butt of MARIO BAVA PART 1 The day ends, the end begins. satirists jokes.1 Peter Kemp LE PEINTRE NÉO-IMPRESSIONNISTE is Cohl’s 1. Jean Renoir: My Life and My Films, Collins, London, best known film, inspired by the work of the BLACK SUNDAY 1974, p.256 Incoherents, an art movement which was 2. André Bazin: Jean Renoir, WH Allen, London, 1974, forgotten by the general public by 1910, hence La Maschera Del Demonio / The p.118 Demon’s Mask / Revenge of the Vampire 3. Penelope Gillaitt: ‘Renoir: Le Meneur de Jeu’, Unholy the more recognisable, if less relevant reference Fools, Viking Press, New York, 1973, pp.318-319 to neo-impressionism in the film’s title. / The House of Fright Eugène Lourié selected filmography: Donald Crafton notes: 1960 83 mins Madame Bovary 1934; Lower Depths 1936; La Grande The jokes arise from the interplay between the SEE MARIO BAVA FILMOGRAPHY FOR CREDITS, P.60 Illusion 1937; La Bête Humaine 1938; La Règle du Jeu ENGLISH LANGUAGE VERSION 1939; This Land is Mine 1943; The Southerner 1945; ridiculous titles and the colours in which the Diary of a Chambermaid 1946; The River 1951; various pictures originally would have been If Delphine Seyrig (still considered the Limelight 1952; Shock Corridor 1963; The Naked Kiss tinted. The title “First we have a picture definitive European lesbian vampire) can be 1964; Burnt Offering 1976; An Enemy of the People 1978 showing a cardinal eating lobster with described as, “an oozing French desert cheese” tomatoes by the Red Sea,” for instance, then , the star of BLACK SUNDAY, CLONING THE FUTURE preceded a scene tinted entirely red. A few must be her dark, Stilt(on)ed forebear.1 From seconds of black leader were spliced in for the the opening scenes of Bava’s brooding vampire picture of “Negroes making shoe polish in a pic Steele’s spineful performance as Asa ONÉSIME, CLOCKMAKER tunnel at night.”2 inspires both admiration and fear. As the 1912 FRANCE 9 mins @ 18 fps Crafton’s assertion makes great sense and is in titular ‘mask of Satan’ is lowered over her face Source: NL Prod Co: Gaumont Dir: Jean keeping with the nature of the film, expanding to be nailed in place, she cries out in con- Durand an animation exercise into a wonderful satire. tempt, “You will never escape my hunger.” A Cast: Ernest Bourbon Michael Koller vampire threat that shudders across genera- 1. Donald Crafton: Emile Cohl, Caricature and Film, tions but also a thoroughly commendable FRENCH INTERTITLES WITH SIMULTANEOUS Princeton University Press, Princeton (NJ), 1990, pp.289- defiance. TRANSLATION 290 In order to receive an inheritance from his 2. — p.291 Throughout BLACK SUNDAY, Bava exploits this ambivalence. Clues to his masterful take on uncle, Onésime accelerates time to his benefit. POSSIBILITIES OF Onésime the clockmaker does not conceive of the vampire genre lie embedded in the time travel as it is in HG Wells’ The Time WAR IN THE A IR narrative. What often distinguishes one vampire story from another are the ‘rules and Machine. Instead, Onésime steals into the 1910 UK 9 mins @ 18 fps regulations’ that bound the vampires’ Central Office of Pneumatic Clocks and Source: NL Prod Co: Warwick Trading Co. Dir: tampers with the master clock so that it runs behaviour. In BLACK SUNDAY the curative Charles Urban faster. By doing so, all clocks, based on this measures for an infestation of vampires lie clock, are accelerated and by compressing The turn of the last century created much simply in the traditional crucifix (ie the power time, Onésime can collect his fortune earlier optimism for the future amongst the of the mise-en-scene) and the additional than anticipated. Obviously the film uses the developed nations. A great interest in the flourish of a stake through the eyeball (hence simple device of speeding up action, but many future and technology thrived. By 1910, the Bava’s emphasis on POV and an ostentatiously amusing and unexpected situations arise, great visionary of the last century, Jules Verne, subjective camera). including the birth, and rapid growth of a was dead and HG Wells had written The Time On the matter of mise-en-scene it can be said child. In dealing with the manipulation of Machine (1895), The Invisible Man (1897), that Bava is the director who has most time, ONÉSIME, CLOCKMAKER can be seen as a War of the Worlds (1898) and The First Men on conclusively put the fear back into atmos. The precursor of René Clair’s debut film PARIS QUI the Moon (1902). Georges Méliès had made castle in which much of the action takes place DORT (1924). his famous A TRIP TO THE MOON (1902) plus a is treated as if a corporal participant in the number of other trick films. Little known director Jean Durand was drama. Its corridors are arteries from which Charles Urban’s film sits alongside this instrumental in the development of the the inhabitants are slowly sucked one by one. company. Made seven years after the first slapstick and action genres during the early The oblique symptoms of the presence of Wright brothers’ flight and twenty-seven years years of French cinema. Between 1907 and death abound – fires flare without cause, before the attack upon Guernica POSSIBILITIES 1929 he turned out many shorts and features furniture topples, draughts billow and breeze, OF WAR IN THE AIR includes dirigibles, without the benefit of rehearsals or scripts, a portrait is mysteriously altered. Throughout, dogfights and guided missiles (the last of including the Onésime comedy series. Bava maintains a graphic intensity which which were not to become a reality till the end threatens to suffocate his characters at a Michael Koller of WW2). moment’s whim. Only the protective powers LES JOYEUX MICROBES The advanced subject isn’t matched by of the cross can cause the camera’s sudden retreat. And at precisely this point Bava shows 1909 FRANCE 5 mins @ 18 fps technique which, considering that the British lead the world in filmmaking during the early us on which side of the crucifix we sit. Source: NL Prod Co: Gaumont Dir: Emile Cohl part of the Twentieth Century, is relatively In the scene setting opening moments Bava FRENCH INTERTITLES WITH SIMULTANEOUS primitive. However, there are some early uncovers his intention to place us firmly in the TRANSLATION examples of model work and the action occurs seat of both victim and vampire. The mask LE PEINTRE with great verve, compensating for the that is lowered onto the condemned vampire’s awkwardness of the futuristic designs (though face is also ‘our’ mask, lowered over the NEO-IMPRESSIONNISTE they are no more clumsy than those in Fritz camera. Later the hero, Andrej gazes softly on 1910 FRANCE 7 mins @ 18 fps Lang’s METROPOLIS, 1927). the neck of his young love (replete with Source: NL Prod Co: Gaumont Dir: Emile Cohl Charles Urban was an American inventor who glistening crucifix). She has fainted and as she comes round we are treated to her vision of FRENCH INTERTITLES WITH SIMULTANEOUS moved to England in 1898 where he managed him. A disorienting re-focus that is immedi- TRANSLATION a film distribution outlet. He soon moved into filmmaking – producing newsreels, documen- ately distracted by the murmur of voices. The These two films unite Emile Cohl’s skills as a taries and scientific films – and later pioneered contrast could not be more cruel. satirist and as a filmmaker in his two favourite the development of colour film. Two additional features of the vampire genre subjects: science and art. In LES JOYEUX are artfully played out in the film: MICROBES, microbes under a microscope form Michael Koller caricatures of the parasites which feed off a 1. The centrality of repetition as a thematic businessman. Simultaneously, Cohl pokes fun preoccupation. In BLACK SUNDAY all the at the modern science of microbiological family’s female descendants resemble each medicine – the doctor was readily recognisable other. None make it beyond the age of 21. As

81 the vampires begin to stir a father’s despair is any of Bava’s films as they were intended, in utensils. As it transpires, her pimp hadn’t been articulated – “It is this resemblance, this the original format, ever. For a full frame by making the calls but instead had just walked repeating that terrorises me”. frame comparison and analysis of several in on a plan hatched by Mary attempting to 2. The ambiguity surrounding common sense different versions of BLACK SABBATH you’re inveigle her way back into Rosy’s life. oppositions. Once the fundamental categories urged to seek out Video Watchdog, No.4. Karloff returns once more to preface ‘The of life and death are thrown into doubt other Meanwhile, there’s no doubt that any sample Wurdalak’ the third story which concerns itself fixtures are similarly loosened most obviously from the colour maestro’s illustrious horror with family-loving vampires. As he explains, that of vampire and victim. Once we move palette will provide a harrowing good time. At these particular blood sucking living dead from the seventeenth century to the nine- the very least, even a cursory glance will make creatures are known as Wurdalak and remain teenth, Bava drops the ‘voice-of-God his legacy apparent in the work of a galaxy of peculiar to Russia. They prefer to infect those narration’ only to reintroduce it when the film filmmakers ranging from fellow countrymen they love rather than arbitrarily snatching concludes (literally – the voice seems to belong (RIP), and his own strangers for victims. Karloff not only gets to to a priest). In between these parentheses son , to Russell Mulcahy or introduce ‘The Wurdalak’ before disappearing anything goes. When Barbara Steele appears Americans like Sam Raimi or Scott Spiegel. in a puff of smoke but returns as the malad- again as Katia, the enigmatic ‘repetition’ of Awash in strident colour gels as seen through a justed central character in a role where all his Asa we encounter her with a pair of snarling constantly prowling camera and often fighting motives are questioned by all the other dogs. Is she the pre-credit vampire risen again? plot coherence, the best of Bava can leave a characters: ie is this guy a vampire? Coming Are the dogs her accomplices in beastliness? haunting and indelible stain on the brain. home after midnight to his small village house Bava toys with us mercilessly. And he jokes. Most importantly, at the dawn of the 60s, and extended family, grand patriarch Gorka’s The film takes considerable interest in the Bava put sex and violence together on the big behaviour immediately raises questions when vampire’s gruesome regeneration – or perhaps screen and it was packaged for a mainstream he orders the now constantly howling family recomposing is a better term since Katia plays audience. dog terminated. To confirm any further piano whilst her antecedent ‘knits’. Asa’s eye BLACK SABBATH as the AIP English-language suspicions, later that night Gorka slays his sockets slowly filling to the brim, Bava version is known, eagerly answers ‘Yea’ to all of own son and takes off into the woods with his suddenly shifts scenes to the village tavern, his the above and begins with a seated Boris young Grandchild. A passing traveller camera emerging backwards from within a Karloff dressed in black and trying to look Vladimir (, now an exploitation French horn. disembodied as he delivers the serious but mogul himself) identifies evidence that leads There are other embellishments to admire. jocular introductions. Shards of coloured light him to run off in order to protect himself The suggestive dialogue between variations on shade his face. Close-ups. Then from behind a from this crazy family and maybe save Gorka’s a Steele when Asa and Katia finally meet. glass of water we’re into the first story, the beautiful blonde daughter. Suffice to say the Their extraordinary exchange expresses both almost dialogue-free, ‘The Drop of Water’. ensuing family re-union ends in tragedy. the desire to possess and to occupy their Late one dark and stormy night a nurse Roll end credits with no final rap from antithesis. A literal narcissism and an evocative reluctantly answers the call to attend the house Karloff. At least not in BLACK SABBATH. It’s moment in lesbian vampire lore. And a of an old clairvoyant who has expired in mid- more than interesting to note that the Italian seduction that requires only hands and voices. seance. Due to a stroke the paralysed face of language version (I TRE VOLTI DELLA PAURA – You did not know that you were born for this this old woman is ugly, distorted and readily available from your nearest Italian moment. That your life had been consecrated frightening. Already flies are gathering. The language video shop) does include a final to me by Satan. But you sensed it didn’t nurse spies her dead client’s bejewelled finger farewell from Karloff. Sitting astride a horse you...That’s why my portrait was a constant and decides to commit a rip off. Back at her Karloff bids us goodbye before charging off. temptation to you. Why it frightened you. You flat things start falling about the place. Sound The camera then slowly pulls back to show all felt that your life and your body were mine. effects are pushed to the fore. The old crone the artifice used to create the illusory world You felt like me because you were destined to reappears to reclaim her jewellery. A strangula- we’ve just left. From the man sitting beneath become me – a useless body without life. The tion occurs. The next day the dead body of the Karloff to rock his ‘mount’ to the string of love that young man had for you could have nurse is discovered and officially deemed a saved you – you know that. You might have prop men running in an empty circle past the suicide. Her assistant can provide no been happy together. But I was stronger and camera holding tree branches This scene was knowledge of circumstances immediately now you shall enjoy a beautiful life of evil and obviously intended as a massive piss-take on hate in me. preceding the death. Fade out on a close up of the whole exercise and the perfect antidote to the face of the dead nurse with her own hands a supremely downbeat movie which has just Eventually Asa goes for the chomp but is wrapped tightly around her neck. repelled by Katia’s crucifix necklace, reminding taken us through several acts of sadism, us once again that before the seventies there Time for Boris to pop back in for a wacky infanticide, incest, and has been genuinely was no place for jewellery and adornment in moment introducing the next film, ‘The misanthropic just by allowing the triumph of the lesbian vampire world. Think Stilton not Telephone’. Shot under relatively subdued evil. BLACK SABBATH just ends with the Camembert. colour schemes this story, unlike the pair that audience left hanging with the anticipation surrounds it, also almost completely eschews that Karloff may return. Deb Verhoeven any supernatural connections. ‘The Telephone’ Not only does BLACK SABBATH provide a fitting 1. Sue Ellen Case: ‘Tracking the Vampire’, differences, takes place in the dour house and surround- Vol.3, No.2, p.15 final creepy character role for Karloff (he lived ings of an upmarket prostitute called Rosy six more years after BLACK SABBATH and played who’s receiving threatening telephone calls. in half a dozen more films including Peter BLACK SABBATH The caller is obviously in the position to Bogdanovich’s clever but largely inferior observe her every move and has an active TARGETS, 1968) but it also demonstrates the I Tre Volte Della Paura / The Three Faces working knowledge of her personal history. At stylistic details immediately embraced or of Fear / Black Christmas / The Three the same time a newspaper clipping shoved imitated by the Italian film industry who Faces of Terror under her door reveals that her ex-pimp has began churning out crime films (or 1963 ITALY/FRANCE 95 mins just been released from jail. Somehow, after movies after the yellow spines worn by many SEE MARIO BAVA FILMOGRAPHY FOR CREDITS, P 62 unnecessarily doing time for something that of the cheap crime novels that were used as ENGLISH LANGUAGE VERSION could’ve been avoided with Rosy’s intercession, source material) at a frantic pace. Years later Mainly being horror films – making them it’s no great surprise that he’s as mad as hell, another genre (slasher films) emerged in and automatically goes to the front line of the disposable, more so with BLACK SABBATH a America formed from the basic tenets of Bava’s mere anthology film (just a bunch of shorts) queue as suspect number one. Rosy soon gets films but that’s a whole other story. on the phone to Mary an old rival/lover in it’s somewhat understandable how the works Nihilistic, grim and often lost in sordid details order to receive some protection and of Mario Bava have ‘travelled’ in all sorts of BLACK SABBATH should’ve displaced DEAD OF emotional support. The inevitable third strange ways. Recut, retitled, banned and even NIGHT (1945) at the top of the horror person home invasion does taint our gal’s refilmed for distributors and censorship boards anthology tree years ago. slumber party when the uninvited visitor across the planet, chances are, wherever you Michael Helms are, you’re highly unlikely to be able to view mistakenly garrotes Mary prior to impaling himself on one of Rosy’s sharpest cooking • ALSO APPEARS IN BEDLAM 82