Cast:
Barbara Steele (Asa Vajda/Katia Vajda), John Richardson (Dr. Andrej Gorobec), Andrea Checchi (Dr. Choma Kruvajan), Ivo Garrani (Prince Vajda), Arturo Dominici (Igor Javutich), Enrico Olivieri (Constantine Vajda), Tino Bianchi (Ivan, the Vajdas' Manservant), Antonio Pierfederici (Priest), Clara Bindi (Innkeeper), Mario Passante (Nikita, the Coachman), Renato Terra (Boris, the Vajdas' Stableman), and Germana Dominici (Sonya, the Innkeeper's Daughter) Directed by Mario Bava (#792 - Black Sabbath)
Review:
I have to admit that I haven't covered as much Italian horror (in its native language, preferably) as I possibly could. Mario Bava actually wanted to be a painter in his youth, but he found that following in his father Eugenio's footsteps of cameraman was his best option, serving as an assistant working on special effects in the late 1930s. Bava was approached by his friend Riccardo Freda about the idea of developing a horror film one day, which led to I Vampiri (1957), a movie Bava was to shoot and provide special effects for. However, he was thrust into the director's chair for the final two days of production when Freda left production, which had Bava come up with a new ending and include stock footage. There were other movies where Bava did work you could consider directorial work, such as The Day the Sky Exploded (1958), where actor accounts said he directed it more than the credited directed Paulo Heusch. There was also Jacques Tourneur's The Giant of Marathon (1959), a film Bava shot but had to do reshoots for exterior scenes because apparently there were moments where you could see extras smoking on camera. And then of course there was Caltiki – The Immortal Monster (1959), a sci-fi horror movie with dubious accounts over who really directed it between Bava and Freda, the latter of whom left in the middle of production. But Black Sunday [La maschera del demonio] was his formal debut as a director. Galatea, fresh off peddling movies such as the sword-and-sandal Hercules films, wanted to get another movie for the markets abroad and went with Bava, who wanted to make a horror film because of the recent success of Terence Fisher's Dracula (1957). He chose to base it on the novella "Viy", as written by Nikolai Gogol in 1835. Bava would do a variety of films in the horror genre to varying success, such as The Girl Who Knew Too Much [1963] & Blood and Black Lace [1964] (each considered among the early ones in the giallo genre), Planet of the Vampires [1965] (which some have compared to Alien [1979]), the action/crime comic movie Danger: Diabolik [1968], A Bay of Blood [1971] (likely his most violent movie). Bava's last completed film was with Shock [1977]; he died of a sudden heart attack in 1980 at the age of 65.
American International bought the movie for the States release and did a re-dub with a few changes to the character names. Known as "La maschera del demonio" in its native country, AIP went with "Black Sunday" for the American title. There is an eerie sense of intrigue that comes with this film from the get-go of its 87-minute runtime. The opening in particular manages to intrigue the viewer closely with its imagery and sheer audacity (masks with spikes on the inside to hammer inside the evil beings). Steele has the double act that you sometimes get with costume dramas: the evil being filled with ambition and yet trapped to a specific place and the unfortunate reincarnation lookalike who can't quite catch a break. Steele became a star in various Italian movies because of the film, which she said "was probably the best of that genre of film I've made...but anybody could have been playing that girl." I think she sold herself a bit short here, there is just something to the way she moves and says her lines that manages an otherworldly feel of odd elegance. One has an unsettled feeling when watching the film at times when it comes what does get shown (sure, the other actors are mildly fine, but that's how it does sometimes). As a whole, Black Sunday has managed to attract so much interest over the years because of the sheer power you can feel in its bones of atmosphere that crisscross with elements of effective gore (such as the parts involving blood). There is something about how the movie feels and acts that you just didn't see back then that just manages to stay as unsettling and dazzling as it did back in 1960. You'll have an interesting treat on your hands with this film or other Bava movies, that's for sure.
Overall, I give it 8 out of 10 stars.
On tap to close out 7 Days of the Week After Halloween, as per tradition, a doubleheader:
Mayhem / Suitable Flesh
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