Danse Macabre

Here's a favorite example of Italian horror cinema, filled with the trademark qualities that have impressed genre-film afficionados for the last half century. It compares favorably with the highly-regarded, Mario Bava classic, BLACK SUNDAY, and features another major appearance by the mysterious beauty, Barbara Steele. The black-and-white cinematography and production design are nicely realized, and an appropriate atmosphere of menace and sexuality is skillfully delivered. All in all, this is a prime example of why Italian horror cinema deserves some appreciation. The music is by Riz Ortolani (of MONDO CANE fame). A very nice DVD from Synapse.

Of the many black and white Gothic horror-thrillers to come out of Italy in the '60's, this is undoubtedly one of the best. However, it is, of course, second to Mario Bava's masterpiece "Black Sunday". Both films star the mysterious and very beautiful British actress Barbara Steele who would become a leading figure in these creepy sixties shockers. Plot of this film deals with a cocky reporter(George Riviere) who is offered a wager to spend the night in a supposedly haunted castle. Predictably, he accepts the wager. The million-dollar question is, will he live through the night to collect his prize? Barbara Steele is a captivating "ghost" who roams the halls of the dark, sinister place and makes the man's stay there a little more pleasant. But as the evening passes on, other specters appear, and with less than godly intentions. Beautifully atmospheric chiller with Steele in fine form. A lesbian scene with Barbara and co-star Margaret Robsahm was cut from the film before it was released to the US. The movie was remade six years later and by the same director(Anthony Dawson) as WEB OF THE SPIDER.

I remember seeing this film at the West End theater in Louisville, Kentucky when I was a boy. The scene where Dr. Carmus finds the gardener's coffin, and the breathing dead body therein, was the scariest part of the movie for me, only intensified by the darkness of the film. I also wondered about the people hanging from the trees at the end, until I recognized the part of the film in which the family name of the Blackwoods was changed from Blackblood, due to the fact that in the family history there was a character who was known for his many hangings of various people. Sir Thomas Blackwood seemed to get his kicks out of adding to the deaths caused by his family. I also noticed that as Foster first enters the gate of the cemetery, he is careful in noticing the sharp object of the gate, where he meets his end. I would not hesitate to recommend this film to horror movie lovers.

Two men(one being Edgar Allen Poe) in an English pub have drinks with a man eager to earn some quick money.He is dared to spend the night in a haunted house for a quite tidy sum.The catch is the dead of this particular house rise this very night.Previous people that have taken the dare didn't survive. The man takes the dare in spite of the warning.

Once inside the tension begins to rise as the man is joined by previous occupants of the house.He is forced to watch their very own violent deaths as they are repeated this particular night every year.The ghosts then try to lure the young man into joining them,even the ghost(Barbara Steele) who has fallen in love with him.Will he survive to see the dawn?

This is a very well made film.The scares are frequent and you actually care about several of the characters,ghosts included. The house/castle is grim and foreboding.The photography is great and Ms Steele never looked lovelier.

The ending is a real twist that you won't see coming.Give this one an 8!

I originally saw this movie as a boy at the old Rialto Theatre as part of a Saturday afternoon matinée triple bill which also featured Vincent Price's "Last Man on Earth" and Mario Bava's "Nightmare Castle." I had nightmares about blood lusting ghosts for a week afterwards! Though I didn't know it then, all three movies would prove to be classics of the genre. No wonder I was so scared! Though all three films frightened me, it was Castle of Blood that had the most profound impact.

It was the first on the bill. I didn't even get to see it from the beginning as we were late getting to the cinema and missed the first 20 minutes of the movie. That's lot to miss since the edited print only ran about 79 minutes (the unedited runs 87minutes). But despite this, the dark creepy atmosphere (complete with ruined castles, fog enshrouded cemeteries, shadows and cobwebs), Gothic set design, strong acting, and suspense (especially the last 20 minutes) scared the bejeepers out of me and made a lasting impression It took me years to finally get a copy of the film for my collection. Since it was a French - Italian import, it wasn't a movie that showed up on the late show in Winnipeg. I couldn't quite remember the title (remember I didn't get to seen the beginning of the film and was scared witless), and to make matters worse, the film had been released under literally a dozen different movie titles (aka Danze Macabre, Coffin of Terror, Castle of Terror, Long Night of Terror, etc...) and the USA/UK working title "Castle of Blood" was very generic, similar to dozens of other "b" horror and suspense films, making it illusive. But thanks to the internet and perseverance, I found it at last! What a treat to finally watch the film in its entirety after so many years! It may not have had quite the sheer emotional impact that it did when I was a boy, but as haunted house movies go, it's stands up well and compares favourably to similar iconic films of the period such as "The Haunting," "The Innocents" or "Black Sunday," The film is a fine early effort of Italian director Antonio Margheriti. It stars 60's scream queen icon Barbara Steele and features a well written screenplay by Sergio Corbucci about a sceptical writer (Georges Riviere) who, on a bet, spends the night in haunted house and unsuspectingly becomes part of an annual ongoing ghostly story. The hypnotic Steele is well cast as the ghostly love interest - as is Arturo Dominici as Dr. Carmus, and Margarete Robsahm as Julia.

Many of the tricks Margheriti employs to create the film's eerie atmosphere (cobwebs, creaking doors, fog, etc) are bound to seem cliché to a modern audience, but they work far more effectively in black and white than they ever could in modern day colour. Rather than using body counts and special effects, the film creates scares the old fashion way, relying on a good story, stylish direction, fine set production, interesting camera work, and strong acting performances. Margheriti does a marvellous job taking these elements and building the film's suspense as the horrifying paranormal secret of the house gradually reveals itself to the unwitting writer.

The film is not without faults. The pace drags at the beginning of the film (ironically, the 20 minutes I originally missed). This is probably worsened by Synapse films effort to restore the film to its original length. Though fans will likely appreciate the chance to see the film restored - in terms of the intro - it may have been more of hindrance than a help. The English voice dubs are merely passable and, in the restored scenes, the language shifts from English to French (English subtitles provided) which is sure to be annoying to some viewers.

However, Synapse Films deserves kudos for the quality of the print. Clearly some effort was put into its restoration and deservedly so.

I enjoyed the film immensely and highly recommend it to aficionados of 60's Italian Goth films, or anyone who enjoys a good ghost story.

Rob Rheubottom Winnipeg, MB Canada