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Itâ(TM)s nice to see Boris Karloff and an international cast which includes MichÃ¨le Mercier, but the three horror tales presented here by director Mario Bava are all pretty simple, and he too often relies on zooms and shock cuts. I also found the music to be far too dramatic and intrusive, as if trying to will fear into us because the stories arenâ(TM)t scary. However, I later discovered that I had seen the American cut, which is apparently quite a bit worse than the original, because content was censored, the filmâ(TM)s color processing was done at an inferior lab, and the soundtrack was completely changed. Not sure what to conclude other than to say, seek out the Italian version.
The visuals may be impressive, but logic is definitely not Bava's forte, and so the first two stories we see here are laughably ridiculous (with also some serious misogynistic and racist undertones) while the last one ("The Drop of Water") is the only effectively creepy.
An anthology which contains in itself three stories, the next moodier and creepier then the previous one, the third being a true masterpiece of horror. Decorations, sound effects, unique chilling atmosphere are the trademark of this director, they are so authentic and moody.
This movie completely terrified me as a kid. I saw it at the theater (the Lyceum for those in Cleveland who remember it) with my dad and I was way to young for such a frightening film. The face on the woman in the first story still haunts me.
Terrifying, stylish, and in one segment disappointing, this horror anthology from the great Mario Bava is mostly great, with the exception of the catastrophically bad ending to The Telephone, which was heavily re edited and watered down for American audiences at the time, Black Sabbath suffers by some minor and major tweaks to the original film, but still offers a ghoulishly dark and scary ride.
Beautifully shot; slightly ridiculous stories. For example, phone stalker? Take the phone off the hook. Also: boring af.
Terrifically moody and stylish Mario Bava directed horror anthology film. Boris Karloff introduces each of the three stories and plays a vampire in one of the tales. The most interesting story is the second one involving a woman in an apartment who's terrorized by a mysterious and threatening caller. This segment could really be considered a forerunner of the Italian Giallo films of the 1970s. The stories themselves are not all that original, but Bava is one of the most talented directors around for creating striking visuals and he's firing on all cylinders in this one.
This was good fun, it's not really a film instead we have 3 short Italian horror stories, all told in the Hammer era style of heaving bosoms with a kind of 'Alfred Hitchcock Presents' feel to them. Boris Karloff hosts the production and appears in the central of the trio, all three stories are surprisingly quite good as well with a nice air of menace. Well worth seeking out.
If horror auteur Mario Bava's use of lighting, color, and sets doesn't positively thrill you in this film than you might be dead. I was disappointed to discover halfway through the film that I was apparently watching an American version edited down by AIP, which made "The Telephone" especially not make a lick of sense. And the dubbing was pretty distracting. I wish I had seen the original Italian version, and I guess I'll just end up seeing that too, but it was sort of interesting to think that I was watching it as any American seeing it in 1963 would have seen it. Still want see the "real" Italian one though.
I really enjoyed this Italian horror anthology from the great Mario Bava. The movie has style, is creepy, and also has a sense of humour. Boris Karloff introduces each segment, and star in the third and best segment "Wurdulak". This film is a must for horror fans!