Black Sabbath (1963)
Black Sabbath (AKA I tre volti della paura) is a 1963 horror anthology film directed by Mario Bava. Although an Italian production, the film was co-financed by American International Pictures and as such was conceived to appeal to US audiences. Hence, the English dialogue edit of the film which was released in America differs significantly to the original Italian version. Despite the presence of the legendary Boris Karloff and the popularity of both anthology and gothic horror at the time,the film was only a modest success at the US box office and did not do well in Italy. However, in more recent years there has been a critical reappraisal of Black Sabbath, especially the Italian dialogue version. Many aspects of the film which are standard genre tropes today, were in fact novel at the time. Also despite the production mainly being studio bound, the film oozes style and has a striking visual aesthetic.
Black Sabbath (AKA I tre volti della paura) is a 1963 horror anthology film directed by Mario Bava. Although an Italian production, the film was co-financed by American International Pictures and as such was conceived to appeal to US audiences. Hence, the English dialogue edit of the film which was released in America differs significantly to the original Italian version. Despite the presence of the legendary Boris Karloff and the popularity of both anthology and gothic horror at the time,the film was only a modest success at the US box office and did not do well in Italy. However, in more recent years there has been a critical reappraisal of Black Sabbath, especially the Italian dialogue version. Many aspects of the film which are standard genre tropes today, were in fact novel at the time. Also despite the production mainly being studio bound, the film oozes style and has a striking visual aesthetic.
The Italian version starts with “The Telephone”, in which upmarket call-girl Rosy (Michèle Mercier) returns to her basement apartment at night and starts to receive a series of menacing phone calls, allegedly from her former pimp Frank who she testified against and had jailed. She calls an ex-lover, Mary (Lidia Alfonsi), and asks for her help but things are not as they appear to be. The second story, “The Wurdulak”, features a 19th century Serbian nobleman Vladimir D'Urfe (Mark Damon) who takes shelter for the night with a peasant family in their farmhouse. They await the return of their father Gorca (Boris Karloff) who has gone to kill a Turkish bandit who has been terrorising the area. When Gorca returns his family fear that he has become a Wurdulak; a living corpse that feeds on blood. The final story “The Drop of Water”, is set in 1910 London, features her nurse Helen Chester (Jacqueline Pierreux) who steals a sapphire ring from an elderly deceased medium she is preparing for burial. On returning home she is plagued by the sound of dripping water and a ghostly apparition.
The most immediate difference between the US and Italian versions of Black Sabbath is the colour timings. The Italian print which was processed by Technicolor Roma and supervised by Mario Bava, has a vibrant, more flamboyantly nightmarish colour palette. The cinematography by Ubaldo Terzano and Mario Bava is fluid and often uses movement to create atmosphere. The use of vivid, saturated hues and dramatic lighting, particularly the contrast between light and shadow, creates a foreboding and menacing atmosphere, making the visuals themselves participants in the horror. Karloff’s entrance as Gorca is a masterfully composed sequence. He steps into frame with his back to the camera and the limps ominously towards the farmhouse. His imposing demeanour is enhanced by makeup that contrasts with being lit from below. These details are more pronounced in this version.
The Italian edit also has the stories in a different order to the US release. The film begins with “The Telephone” and in this version the sexual subtext is far more apparent. Rosy is clearly a prostitute. Mary is possibly a former client who subsequently fell in love with Rosy. Themes that were excised from the US prints. This story plays out in many respects as a giallo, bearing many narrative hallmarks. Next is “The Wurdulak”, the most gothic of the three vignettes. The Italian version has a little more violence, when Gorca reveals the head of the dead bandit. Finally “The Drop of Water” is identical in both versions of the film, as its shock lies in jump scares, rather than violence. The US release has a different introduction by Boris Karloff and he links each new story. The Italian version has him appear at the start and end of the film only. The original score by Roberto Nicolosi is present in the Italian release but was replaced in the US version by a new soundtrack by AIP stalwart Les Baxter.
Overall the Italian release of Black Sabbath, is the superior version. It delivers three supernatural tales, featuring adult themes with style and atmosphere. The US version is tamer in tone, mainly because horror films at the time were aimed at the teenage market. The visual impact of the Italian version is greater due to the more vivid use of colour and the original score is less intrusive and melodramatic than the new American soundtrack. If Mario Bava’s version has one failing it is the dubbing of Boris Karloff into Italian. Although a necessity for the film’s release in its home market, it does have an impact upon Karloff’s performance. Modern audiences may consider some of the ideas, especially those in “The Telephone”, to be a little tired and overused However, the notion of a stalker in this instance predates most US films by a decade.
The artistry and structure in Black Sabbath, particularly its blend of suspense and supernatural horror, directly influenced the Italian giallo genre and the wider global horror aesthetic. Beyond the supernatural, the film masterfully explores themes of guilt and the encroaching forces of evil, making the terror deeply relatable and psychologically disturbing. Mario Bava continued to have a significant impact upon cinema throughout the sixties and seventies. He pre-empted the US slasher genre with the gory giallo A Bay of Blood (1971) and clearly had an influence upon Ridley Scott’s Alien (1979) with his atmospheric science fiction film, Planet of the Vampires (1965). Black Sabbath is a fine example of the stylish European approach to gothic horror and is therefore “must see” viewing for horror aficionados. Seek out the Italian version if possible.
The Tower of London (1939)
The Tower of London is an interesting film, in that it is clearly a historical drama but in spite of this, it was marketed as a horror movie. This is mainly due to the presence of Boris Karloff who plays a club footed executioner. Universal studios were keen to focus upon his role and ensured he featured prominently on the theatrical posters, wielding an axe in a menacing fashion. The film does feature several ghoulish scenes set in the dungeons beneath the Tower of London but essentially this is just a competent retelling of Shakespeare’s Richard III. However, rather than adapt the bards prose, this film offers a more of a historically accurate narrative, as Richard of Gloucester claims the throne of England in 1483 by eliminating all other heirs. The movie embellishes the political intrigue by having Richard remove a figurine from a dollhouse resembling the throne room, every time he kills an enemy.
The Tower of London is an interesting film, in that it is clearly a historical drama but in spite of this, it was marketed as a horror movie. This is mainly due to the presence of Boris Karloff who plays a club footed executioner. Universal studios were keen to focus upon his role and ensured he featured prominently on the theatrical posters, wielding an axe in a menacing fashion. The film does feature several ghoulish scenes set in the dungeons beneath the Tower of London but essentially this is just a competent retelling of Shakespeare’s Richard III. However, rather than adapt the bards prose, this film offers a more of a historically accurate narrative, as Richard of Gloucester claims the throne of England in 1483 by eliminating all other heirs. The movie embellishes the political intrigue by having Richard remove a figurine from a dollhouse resembling the throne room, every time he kills an enemy.
The Tower of London is a well written and concise drama, which manages to expedite the historical plot without it feeling like a history lecture. Richard, Duke of Gloucester (Basil Rathbone) exudes both charm and malevolence as he plots and schemes. He is assisted by executioner and assassin Mord (Boris Karloff) who idolises his master and facilitates his plans. Vincent Price has a suitably unctuous role as Duke of Clarence. The drinking contest between him and Richard is a delightful scene, which Price and Rathbone mainly ad libbed. The production values are good and the sets have a sense of period atmosphere. There are some brief scenes set in the torture chamber and although far from graphic, they are quite bleak and psychologically quite cruel. However, it should be noted that this is very much a case of the 15th century as interpreted by a Hollywood studio. Even the depiction of squalor is oddly stylised and sanitised.
When Boris Karloff made Son of Frankenstein he signed a deal with Universal to make an additional two feature films. His role in The Tower of London was written specifically for him by screenwriter Robert N. Lee. Although the part is somewhat limited within the scope of the story, Karloff certainly demonstrates his acting skills. During a scene in which Richard, Duke of Gloucester orders the murder of the twin nephews, Karloff brings a subtle degree of hesitation to his performance. He briefly pauses outside the room and reflects upon what he has been charged to do. A brief pang of guilt passes his face before being replaced with grim resolve. Sadly, the role of Mord is not as prominent as the studio inferred. My late Father remembered seeing this film in the cinema when he was ten and recalled that many in the audience expect the film to be a pure horror movie. Apparently in the screening he saw, there were chants of “ we want Boris” as viewers became bored with all the historical intrigue.
As well as being a period costume drama, The Tower of London was also provided a degree of wartime propaganda. The film starts with an opening title card that strives to clearly draw a parallel between Duke of Gloucester’s rise to power and that of Hitler in Germany. Another interesting aspect of the production are the battle scenes. Despite using quite a lot of extras, bad weather destroyed a lot of the props and so a lot of the action were shot at close quarters, giving them a very intimate quality. John Boorman used the same technique forty years later in Excalibur. The director Rowland V. Lee was also keen to maintain a degree of authenticity with the production and wished to use period music. Sadly this was disputed by the studio and so a lot of stock music from previous Universal films were used. All things considered, The Tower of London is an entertaining historical drama that deserves a reappraisal. It certainly makes for an interesting alternative perspective on these events, rather than a traditional adaptation of Shakespeare’s Richard III.
