Les trois visages de la peur

Excellent horror anthology film from Mario Bava with three stories as well as linking segments with Boris Karloff. The first story is "The Drop of Water," about a nurse who steals a ring off the finger of a medium's corpse. If you guessed that won't end well for her, you're right. This is a suspenseful story with fine atmosphere. That corpse is one of the creepiest-looking things I've ever seen on film. The next story, "The Telephone," is about a woman receiving mysterious taunting phone calls. A nice-looking segment, and Michele Mercier is definitely attractive, but this is the weakest of all the stories. That isn't to say it's bad, though. It's interesting enough just not as good as the other two. The final, and best, story is "The Wurdulak," about a family awaiting the return of their father (Boris Karloff) who went out to kill a vampire. When the father returns, he's very different. Karloff is lots of fun in this story as well as the linking segments.

This review is mainly for the dubbed American version. The original Italian version differs from the American with the order of the stories changed as well as some violent and suggestive content that was cut for American release. I give both versions the same score because, to me, the differences aren't enough to make one better than the other. "The Telephone" has the most significant changes but remains the weakest story in both versions. The Italian version has a score by Roberto Nicolosi and the American score is by Les Baxter. I preferred the Baxter score personally but I can see where others would prefer Nicolosi's more subtle score. I recommend you try both versions if you have the time. It's a colorful and beautiful-looking film that ranks high on the list of horror anthology movies I've seen. Karloff and Bava fans will love it.

This is an anthology film with three stories, totally unrelated introduced by a rather aged, dignified Boris Karloff. Karloff introduces each with great savvy and a generous dose of wit and humour. All three stories were directed by Italian horror specialist Mario Bava, whose use of the camera was legendary and unique. The first story was based on a story by Chekov called "The Drop of Water" and it is the best of the three. This little story about a nurse that steals a ring off the body of a witch, having been warned not to, is one of the scariest scenes ever to be filmed. The second story about a killer and a phone is adequate. The third story, starring Karloff as a Wurdelak...or vampire..is very good. It has plenty of atmosphere, and is the only film in which Boris ever played a vampire. All in all, Black Sabbath is a good film. It shows the talent that Bava had for taking fairly ordinary situations in life into horriffic ones.

Originally titled I TRE VOLTI DELLA PAURA (THREE FACES OF FEAR), this horror anthology made it to the U.S. with a new title to remind viewers of how good Bava's BLACK Sunday (1960) was. It also gained an excellent Les Baxter soundtrack and Boris Karloff as a host, though the tales were reversed in order and the strong lesbian subtext of one segment and some violence were omitted, but that's good ole' American censorship for you (both have since been restored, anyway). In any case, this anthology is a classic of its kind.

"Drop of Water" (based on a story by Checkov) is a chilling tale of a nurse (Jacqueline Pierreux) who gets her just desserts after stealing a diamond ring from the hideous-looking corpse of a psychic. "The Telephone" (based on a story by F.G.Snyder) was the least satisfying of the bunch for me personally, yet is still above average. In it, a lascivious, unstable and bisexual young beauty (Michele Mercier) receives threatening phone calls that seem to be coming from a man who has a personal vendetta against her. Final tale is "The Wurdalak," which was based on a Tolstoy. Boris Karloff stars as Gorca, a man turned into a vampire by the curse of Wurdalak, which makes him attack and kill only those he loves (namely his extended family, including child). It's astonishing to look at and very suspenseful. All three are colorfully, creatively done, drenched in Bava's trademark rich atmosphere and bring something a little different to the table. "Drop" (last in the Italian version) has the most chilling central image, "Wurdulak" (middle in the Italian version) has the boldest color palette and most vivid art direction and "Telephone" (first in the Italian version) is a very early giallo. Horror regulars Mark Damon (from Corman's HOUSE OF USHER), Massimo Righi and Harriet White Medin (usually typecast as a stern housekeeper in Italian horror films) co-star in this one.

Score: 8 out of 10 (only because I'm reserving a point until I get to watch the original Italian version).

I don't know if Sam Arkoff knows it, but the moment AIP renamed "I Tre Volti Della Paura" into "Black Sabbath" for the American release they were writing 20th century history. A couple of years later a relatively unknown band from Birmingham, inspired by Mario Bava's Gothic horror anthology, would name their band Black Sabbath and proceed to become one of the most well known and influential bands of the last 30 years.

Black Sabbath starts off wisely with the weakest story in the movie, "The Telephone". There's nothing incredibly exciting going on, and the interior setting doesn't allow Bava to fully exercise his usual flair in visuals and atmosphere, rendering this segment a rather routine affair. Any historical significance the segment might have in the shaping of the giallo is made redundant by the fact that Bava himself would go on to define the genre a few years later with Blood and Black Lace.

The patient viewer will be amply rewarded by the following two segments though. The Wurdulak, featuring a ghastly Boris Karloff in one of his best roles, and A Drop of Water, with Jacqueline Pierreux in the role of a greedy nurse, are both the epitome of Mario Bava's Gothic style in colour.

What makes Black Sabbath so vibrant and captivating is the use of colour in lighting. Going against every rule and defying every sense of historic realism, Bava employs colours from every end of the palette (from magenta to cyan) and lights his sets in the most imaginative ways. It may seem arbitrary, and it may very well be, but the effect cannot be dismissed. It works. Imagine Seijun Suzuki circa Tokyo Drifter doing Black Sunday in colour and you get pretty close to what Bava strives for lighting-wise. There's a pop art sensibility that contrasts beautifully with the stern tone of the movie. Combined with misty exteriors, long shadows and a baroque opulence, Bava mutates Gothic horror into a unique beast that is simultaneously very familiar and extravagantly exotic.

What's even more admirable is that Black Sabbath is actually scary. Well not in the traditional sense anymore, no. But there are genuinely chilling moments. I can't even begin to imagine how horrifying the ending of A Drop of Water or Boris Karloff's face seen through a smudged glass in The Wurdulak would have been to unsuspecting audiences back in 1963.

In conclusion; seek this movie out, but know what you're getting into. This is old school Gothic horror with a unique visual flair, a penchant for atmosphere and a great Boris Karloff. In the Gothic horror Bava scale, I would rank it somewhere between Kill! Baby! Kill... (Bava's other masterpiece) and Lisa and the Devil, if that means anything.

1945's Dead of Night introduced horror cinema to omnibus films, and Mario Bava's Black Sabbath brought it back! Italian produced films were making a lot of money in the early sixties, and hot on the heels of his success with Black Sunday, former cinematographer and horror genius Mario Bava was brought in to direct this compendium of horror tales. The great Boris Karloff adds a further lure to the proceedings, and these two giants were on to a winner before they started filming. This film is like an overview of what Mario Bava is all about. The first tale, a Giallo-like thriller, echoes films such as The Girl Who Knew Too Much and Blood and Black Lace, while tale number two; The Wardulak, is pure Gothic horror, a la Black Sunday. The climax story, The Drop of Water, is the most horror orientated of the trio and gives a good early showing of the adrenaline that would go on to make the likes of Baron Blood and Bay of Blood the great films that they are. Mario Bava has a lot of fans and many of his films could easily be considered his best, but there is no doubt for me. The best film Bava ever made is Black Sabbath.

After a colourful and campy introduction by the great Boris Karloff, we move straight into The Telephone. This tale is simple, yet effective and instantly grabs you – not letting go until the end. The lesbian undertones give it an extra bit of verve (especially with the actresses being as tasty as they are!), and the way that Bava claustrophobically shoots almost the entire story in one apartment means that the tale is always easy to get to grips with. Bava's music is the main event style-wise. Music is a big part of Giallo, and this entry in Black Sabbath, along with The Girl Who Knew Too Much, ensures that we all know it was Bava who created the Giallo. The ironic ending seals the story and makes sure that you'll be in high spirits going into tale number two.

The Wardulak is the longest, most ambitious and also the weakest part of the trilogy. That's not to say that it's anything less than brilliant; the other two are just stronger. The Gothic sets and atmosphere are definitely the main draw here, and the way that Bava lights up every scene with his trademark use of lighting and colours is absolutely stunning. Being the most expansive, this is the story that best allows Bava full use of his directing ability and many of the shots could be easily be framed and hung on your wall. The tale is very reminiscent of the masterpiece Black Sunday, and gives a good impression of what the film might have looked like had it have been in colour. Boris Karloff takes the lead role here as a man trying to destroy a line of vampires like creatures known as Wardulak's. Karloff obviously enjoyed making this film, and his assured and camp performance in this part of the film, along with his intro and outro, really shows that. The conclusion to this story is really well done, and makes sure that this part of the film ends on a high.

My favourite tale is the first one, but The Drop of Water definitely isn't far behind! This tale is pure evil, and allows Bava to show his mastery of the horror genre the best. We follow a young female nurse who steals a ring from one of her patients...a medium...who died during a séance. Like the first tale, this one's effectiveness stems from it's simplicity and this allows Bava to implement his excellent use of lighting and colours. The sets are brilliantly lit, and the director manages to create a foreboding feel that runs throughout the film. The design of the elderly medium's face is really haunting, and seeing the corpse get it's revenge gives Black Sabbath it's main scare. Watching this tale, it's obvious why Bava is so well respected by cult and genre fans. There aren't many directors that can generate this kind of scare from such a simple plot - and all of The Drop of Water's frights are owed entirely to the director. On the whole, this is a superior omnibus horror film. All the elements are in place and if you want a great overview of Mario Bava's talents - this is the place to look!