Violent Blood Bath

Seventh film of Jorge Grau that I watched, and it only confirmed he is one of my favorite filmmakers, a great auteur who, for some weird reason, has not received the attention he deserves.

Based on a work of Guy de Maupassant, the film is a breathtaking psychological thriller with one of the most intelligent plot twist I ever saw. Fernando Rey is superb as a magistrate that believes in death penalty as a way of protecting society. He is a troubled marriage, and his wife (played by the excellent Marisa Mell) is having an affair with a writer who opposes to Rey's vision and is determined to prove his thesis in a new book. Strange murders that imitate the ones committed by the criminals condemned to death by the magistrate starts to happen, and an investigation takes place. But, nothing is what seems in this sordid story written by Grau and Juan Tébar, and I can't reveal more to avoid spoilers.

Be careful with the title given to it in the USA, "Violent Blood Bath". Fans of gore may be seduced by this misleading title, and the fact IMDb puts "horror" as one of its genre doesn't help. There is no blood bath here, and the murders all occur off screen. This is the kind of movie where what matters is the character development, and it excells in this department.

Impecably shot, photographed, edited and scored, "Pena de Muerte" deals with a controversial topic without falling in the mere sensationalism or sounding preachy. It is not easy to say if the script is supporting or opposing death penaulty, and this is one of its merits. The last half hour will make you devour all your fingernails, in one of the most brilliant exercises in tension.

Thanks to Vinegar Syndrome for the excellent restoration of this masterpiece. I hope more works of the underrated Jorge Grau receives the same treatment soon.

This Spanish giallo takes us from Paris to Galicia in Spain, following on his holidays the French public prosecutor Oscar (Fernando Rey, Coartada en disco rojo), an "implacable defender of the law", who makes it his duty to sentence to death bloody murderers. Oscar is married to a much younger wife, Patricia (Marisa Mell, Alta Tension), and in their hostel she meets a former lover, Will (Espartaco Santoni, Ceremonia sangrienta, from the same), a writer in criminology who interests himself in trials attended by Oscar.

And horrible murders, real "violent blood bath", start to occur in the quiet touristic place, reacting the crimes prosecuted years ago in Paris by Oscar. Who is the mysterious killer who seems to seek revenge upon the death of the condemned former murderers? A young couple, Javier (Maximo Valverde, Estratto dagli archivi segreti), an actor, and Laura (Elisa Laguna, Chicas de Club, from the same), are soon suspected, but the local inspector Navarro (Julian Navarro, La Decente) is even less efficient than usual, and he lets Oscar lead the investigation.

The plot is indeed very predictable, and the well designed pictures of the director don't remedy to the global lack of thrill. In fact, the film is a pleading against the "penalty of death", at this time still in force in the Francoist Spain. (Viewed in English 1h32 version.)

The English language title - "Violent Blood Bath" - is an unfortunate misnomer. It gives the impression that this as a splatter movie and yet the entire amount of blood shown in this movie was less than 1/2 bottle of Max Factor #5. The Italian title - "The Private Life of a Public Prosecutor" - is more descriptive but less grabbing.

This is a competently made movie: well acted by both Fernando Rey and Marisa Mell, a dark beauty. It is dubbed so well that it is hardly noticeable. It is beautifully photographed, for the most part, in some interesting, and very scenic, locations.

It has enough suspense, although you may guess who the real killer is before the actual denouement . Not a great movie; it is definitely above average and well worth a look.

A most misleading title English for a very fine film, which may be why it has become so neglected. Fernando Rey is great as the ageing judge reflecting upon his career as someone keen to make use of the death penalty wherever he saw necessary. Some of this seems to be coming back to haunt him and we see something of these terrible murders (hence the title, but still misleading, this is no stalk and slash). Instead we have a gripping tale with many twists and turns and if we see little gore or skin for that matter, there are other compensations. Not least the lovely Marisa Mell who puts in a sterling performance matching that of the great man himself. Good solid thriller with giallo undertones and a very good dub plus fine cinematography. Well worth catching if you can.

I had never heard of this one until recently, but was definitely intrigued by the involvement of "Euro-Cult" exponent Grau as well as stars Fernando Rey and Marisa Mell. The sensationalistic English moniker suggests a Giallo or even a Gangster epic, but this is a relatively serious treatise of schizophrenia coupled with a plea against capital punishment (PENA DE MUERTE being the film's original title).

The plot is interesting: Rey is a stern ageing judge who goes on holiday, only to find the crimes of people he had sentenced to the guillotine years before literally coming back to haunt him!; Mell is the man's much-younger dissatisfied wife (also irritated by his OCD!) who eventually rekindles a romance with writer Espartaco Santoni, actually there to compile data for his next book – which just happens to revolve around her husband's illustrious career! The subsequent investigation into the multiple murders also takes in a local Police inspector, a girl whom Rey had befriended and who had connections to one of the latest crime scenes, and her actor boyfriend; both the latter and Santoni himself (being familiar with the trials of the original cases, of which we are given intermittent snippets, he is obviously knowledgeable of their killers' modus operandi) are among the initial suspects.

Still, the identity of the perpetrator of the copy-cat killings is not at all hard to guess; in fact, it is virtually a replica of the latter-day Boris Karloff vehicle THE HAUNTED STRANGLER (1958) sans face-twitching antics! As I said, the film makes little concessions to the sleaze and gore which typically exemplified the "Euro-Cult" style – perhaps the presence of Luis Bunuel regular Rey inclined the director towards a more level-headed approach here (though, to be fair, this was also true of the two other efforts of his I have watched so far, and his most popular, BLOOD CEREMONY [1973; whose viewing actually followed in quick succession to the title under review!] and THE LIVING DEAD AT MANCHESTER MORGUE [1974]).