Kill, Baby... Kill!

I was fortunate to see the original Italian version of 'Kill, Baby..Kill!' last night, with subtitles and not dubbing. Some of the dubbed versions of 60s and 70s European horror movies available, by Bava, Argento, Franco, Rollin and other notable directors, are badly done and make the movies seem silly and amateurish, so I was very glad to see this in its original language. I don't think this movie is as impressive as Bava's classic 'Black Sunday', but it is an excellent Gothic chiller full of atmosphere and style. Giacomo Rossi-Stuart, from the underrated Vincent Price post-apocalyptic thriller 'The Last Man On Earth', plays a doctor sent to perform an autopsy on a woman who has died mysteriously. The villagers are cagey and uncooperative, and he soon finds himself in the middle of similar unexplained deaths which seem to have some connection with the nearby Villa Graps. The lovely Erika Blanc ('The Devil's Nightmare') plays the doctor's love interest, and the sexy Fabienne Dali a local witch. Martin Scorsese has admitted that this movie was an inspiration for one sequence in his 'The Last Temptation Of Christ', and Tim Burton is a card carrying Bava nut ('Sleepy Hollow' is as much a homage to Bava's work as that of Hammer studios). With each Bava movie I see I am further convinced he is quite possibly the most underrated director in movie history. Why he is not a household name is difficult to fathom. Put this one on your "must see" list, directly behind 'Black Sunday' and 'Lisa And The Devil'!

I see a lot of people complaining about the silly title "Kill, Baby, Kill", but the original title, "Operation Fear", is no better. But don't be deceived, this is a first-rate Bava shocker with plenty to look at.

Here we have an isolated Transylvanian village haunted by the spirit of a dead little girl intent on collecting the souls of the inhabitants. The plot finds a young doctor summoned to the town to perform an autopsy in the investigation of a girl's mysterious death. The simultaneous arrival of a damsel-in-distress "assistant" completes the formula, and soon there is danger galore for everyone.

The imagery gets the emphasis here, and I found some of these sets to be absolutely unreal. Spooky-movie cobwebs and mist abounds, and the movie takes place in a series of oddly-shaped buildings, labyrinthine walkways, and even an ultra-campy graveyard. One of the most astonishing sets is that of the ominous "haunted villa", inhabited by Gianna Vivaldi, bearing an uncanny resemblance to Alida Valli (Ironically, the town's burgomaster is played by Luciano Catenacci, who looks more than a little bit like Telly Savalas. Alida Valli and Telly Savalas would both star in Mario Bava's seminal "Lisa and the Devil" years later).

The film's influence on many genre classics will be obvious to horror film buffs, particularly the resemblance of several sequences to Dario Argento's "Suspiria". Even the soundtrack features a number of sighs and musical cues that seem to have been borrowed by Goblin for "Suspiria"'s score. The most obvious similarity is the use of gratuitous red and green lights (which makes you wonder where these villagers got those colored bulbs-this is a period piece, after all!), and one dizzying sequence makes ingenious use of a spiral staircase.

The film also has a level of violence that must have been quite shocking in 1966, with a throat-slashing, temple-piercing, and even an impalement on an iron fence. I am so glad I finally made the time to sit down & watch this great movie. I'm really surprised the film doesn't get more recognition; it is that good. Now why couldn't anyone think of a better title for it???

I wonder was Mario Bava ever head-hunted by Hammer? This film is so gorgeously shot, the set-designs so perfect, that the film has the look of a fairy-tale nightmare. The gorgeous art-direction serves the story, pacing and director's style very well. This is a very moody piece, that demands your patience and attention. It gave me goose-bumps and in one scene towards the end, made my blood turn cold.

The ghost of a dead child is doing the rounds in a small Carpathian village, killing the inhabitants, who are reluctant to speak about it when a coroner turns up to investigate. He ends running foul of the one in control of the ghost.

I really can't praise the cinematography, set-design and directing enough. This was my first time meeting Mario Bava, and I look forward to watching more of his work, and even watching this one again. The gothic horror is exceptionally done, finely complemented by the set-designs and imagery, that give a nightmare quality to it all.

A doctor (Giacomo Rossi-Stuart) goes to a small town in the Carpathian mountains some time around 1910 in order to perform an autopsy. The villagers are generally not pleased with this, but he presses on. At the same time, there is rumor of a ghost that appears just prior to death... and somehow these two events are connected.

I had not much experience with the work of Mario Bava, having been more familiar with the splatter subgenre of his son Lamberto. But I had always heard great things of Mario, and knew this film was considered by many to be a strong, memorable piece... most notably for a scene where the doctor chases himself or a doppelganger through a series of identical rooms. This scene is pretty great and pulled off very well for the time, no special effects needed. The Gothic atmosphere is also well captured, on par with Hammer films or the Poe works of Roger Corman.

I find this film to be something of a tightrope between Fritz Lang's "M" and Peter Medak's "Changeling". Like "M", there is a leitmotif connected to the evil force -- in "M", the whistled tune. Here, a bouncing ball. Likewise, the ball here is somewhat replicated in "Changeling", though no longer as a forewarning to the killer. Also, the colorful imagery here really anticipates the later Italian directors, particularly Argento.

Although Luca Palmerini calls the film overrated, he does say the "to the devil a daughter" theme started here and was taken up by Fellini in Toby Dammitt in "Spirits of the Dead" and later in Friedkin's "The Exorcist". I think this is a bit of stretch to connect this film to "Exorcist". Again, the white, bouncing ball symbolizing a dead child, as would later be done to great effect in "The Changeling", is the real key here to future film.

To really understand and appreciate Bava, I feel one would have to watch "Black Sabbath" or "Planet of the Vampires", but this film shall be considered my introduction to the man, and I loved him from the first camera shot. I would strongly urge others to meet him in a similar way. Different releases exist, some probably better than others. I watched two different DVDs, the better one being produced by Diamond Entertainment, but I assume a still better print exists.

This colour-drenched Gothic horror film from Italian master Mario Bava is full to the brim with atmosphere and style. A doctor travels to a remote village to perform an autopsy on a woman who has died in mysterious circumstances. He immediately finds himself in the midst of a series of similar unexplained deaths. Everything seems to be connected to an ominous nearby house, the Villa Graps. While the malevolent ghost of little girl terrorises the vicinity...

Kill, Baby...Kill! May sport a title that makes it sound like it should be a Russ Meyer sexploitation flick but to all intents and purposes this is pure Bava. It contains most of the elements that are associated with the great man's work: terrific fluid cinematography, beautiful use of colour and light, and strong atmospherics. It benefits too from a pretty good cast. Giacomo Rossi-Stuart is solid as the doctor while there is strong support from the beautiful and very Gothic Fabienne Dali as the local sorceress. Carlo Rustichelli pipes in too with a good score that sounds very like his soundtrack to Blood and Black Lace. But it also has an eerie section that accompanies the ghostly girl. This latter presence is well used throughout the picture. She appears in the night looking through windows, while her bouncing ball follows her around and adds splendid macabre detail - the ball led to the girl's death in the first place.

Like all Bava films, this one is an exercise in cinematic style. Mostly, visual style. Many of the compositions are beautifully conceived and lit. Bava's camera gracefully captures it all and the sets are awash with striking colour and lit to perfection. In a couple of standout scenes the director puts together sequences of surreal splendour. One features a spiral staircase and the other has a man chase a figure through a maze of identical rooms until he finally catches him only to discover it is himself he has been chasing.

Like many of Bava's films the story isn't really very great. Its serviceable and no more. But this is ultimately only a minor point as it's the style in which the story is told that is the main draw. And this is a great film from a master of visual cinematic style.