Kill, Baby, Kill (Operazione paura) (Curse of the Living Dead) (Don't Walk in the Park) Reviews
One they starting digging they find there was a brutal death of a young girl & they believe her ghost returns to the kill those in the village.
Quite patchy in parts & the English Dubbing may affect the original experience. Definitely creepy but could have been told better.
A murderous ghost of a little girl haunts a small town in Europe that has no idea how to protect itself. One of the pending victims gets a letter out of the town that lands in the hands of an inspector. The inspector heads to the town in hopes of saving the girl but is too late. He is determined to stop the killer so no one ends up like the girl that wrote the letter.
"They'll get you; and I hope they do, it'll save me from firing this bullet."
Mario Bava, director of A Bay of Blood, Black Sunday, The Evil Eye, Baron Blood, Roy Colt and Winchester Jack, Planet of the Vampires, and Black Sabbath, delivers Kill Baby, Kill. The storyline for this picture has a classic horror feel with eerie ghost scenes that are a bit dated but fun to watch unfold. The acting is solid and the cast includes Erika Blanc, Piero Lulli, Giacomo Rossi-Stuart, Piero Lulli, and Micaela Esdra.
"They were victims of her hate."
I came across this on Netflix and thought it would be cool to watch a few Mario Bava classics (I haven't seen many of his films). This is one of the better ones I have seen to date and reminded me of the Vincent Price films from this era. The special effects are dated but fairly well done for the time. This is a must see for fans of classic horrors but isn't an all time classic.
"If you value your lives, leave tonight."
Dr. Paul Eswai (Giacomo Rossi-Stuart) has arrived in a small Italian village (that looks more like it rests on the outskirts of Transylvania) to investigate the mysterious death of a young woman. The town is hardly shocked: deaths with a sliver of an explanation seems to be their specialty. They're convinced that the ghost of a young girl named Melissa, the daughter of the formerly wealthy Graps family, is responsible. Eswai isn't so sure, but the longer he stays, the more his doubts turn into fears.
He's aided by the enigmatic Monica (Erica Blanc), who seems to be troubled by something, and the local sorceress (Fabienne Dali), who has been placing gold coins in the victims' hearts to ward off any more supernatural disturbance. But will it do any good?
"Kill, Baby, Kill" is completely preposterous, but to call it campy would be an insult. Bava never geared in that direction (with the exception of the riotous "Danger: Diabolik"), and instead he makes yet another beautiful, yet chilling, horror film that manages to scare us in a way that no other movie in the genre truly can.
The film is more about atmosphere than a great script or good performances. Bava almost at once can give us the feeling of uneasiness, as the sets are often shadowy and the music is subtly creepy; strange camera angles and speedily panned shots complete the artistry that Bava so easily conveys. Though you could say Bava was a part of the "big three" of Italian horror directors (the other two being Dario Argento and Lucio Fulci), nobody then, or now, has ever been able to match the mood Bava sets in his films.
The cinematography is colorful and dreamlike, but it works in the way that "Suspiria" does; it takes an eye-catching setting and transforms it into a nightmare. The town that the film revolves around throughout its duration normally would be a rustic village, but here it's claustrophobic and utterly terrifying. You feel as though there's no escaping to the point where you wonder why the characters manage to stay for such a long time.
"Kill, Baby, Kill" in the meantime utilizes one of the scariest themes in horror: a mere child as its central villain. Some of the spookiest moments of the film involve a ghostly little girl pressing her hand (or face) against a window with menace; another impressive depiction is from Bava's genius experimentation, in which we experience a child swinging, from the eye of the beholder. The camera pans in and out with gusto-- it sounds strange on paper, but it's strangely fascinating to see at what lengths Bava would go to make his viewers anxious.
"Kill, Baby, Kill" is not merely frightening-- it's artistically thrilling. For people who haven't experienced the masterwork of Mario Bava, this is a great film to start with.