As Três Máscaras do Terror

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).

Black Sabbath is one visually stylish flick, courtesy of one of Italy's finest; Mario Bava.

The first story, The Telephone, is light on suspense but heavy on looks. The first Giallo in color, I believe, to some extent, with sexual overtones featured very prominently. Although it only takes place in one apartment Bava's crazy color schemes work beautifully and thanks to the two stunning ladies this episode goes down very well.

The Wurdulak scores heavy because of it's visuals and it's magnificent Gothic atmosphere. This should give a good example of how Black Sunday might have looked in color. However, this episode feels stretched quite a bit, it's relatively short running time seems longer than it is and therefore, in my opinion, is the weakest of the bunch.

The Drop of Water is the final, and best, episode. Bava was fond of the kind of horror that deals with a person who's totally alone in his/her surroundings. He goes into supernatural territory and creates a highly stylish (again) and quite the scary episode.

Black Sabbath is not the best Mario Bava has to offer, it could have been more scary but thanks to studio involvement he had to keep things light and not too scary. Under such restrictions I think Bava did extremely well and Black Sabbath is most definitely a must for Bava fans.

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!

Boris Karloff is the host of three scary tales of terror: In the Italian version, the sequence is the following: 1) "Il Telefono" / "O Telefone" ("The Telephone"): Rosy (Michèlle Mercier) receives several phone calls threatening her life. She believes her former lover, who has just escaped from prison, is the man that is calling her. She denounced his crimes some time ago and he was convicted and imprisoned. She calls her lesbian girlfriend Mary (Lidia Alfonsi) to stay with her during the night. Soon a secret is disclosed and a tragedy happens in the middle of the night. In the ridiculous American version, Frank is a ghost and not a fugitive, destroying the tension. My vote is seven.

2) "I Wurdulak" / "O Wurdulak" ("The Wurdulak"): The young Vladimire d'Urfe (Mark Damon) is riding a horse in the night and finds a man stabbed on the back. He withdraws the dagger from the man and finds a house close to the place where he found the body. There, he meets a family composed of two brothers, one sister, one sister-in-law and one nephew, and he falls in love at first sight with the beautiful Sdenka (Susie Andersen). He realizes that the dead man was a criminal, probably killed by the head of the family Gorca (Boris Karloff), and he is advised to leave that place, if Gorca does not arrive until midnight. The family informs that there is a chance that Gorca might have been transformed in a Wurdulak, a kind of vampire who drains blood from the living persons. A few seconds after midnight, Gorca comes back home, and the afraid family does not know whether he was transformed or not. The family will discover later what happened in a tragic way. In the American version, there are modifications and the scene that Gorca takes a head from his bag is cut. My vote is nine.

3) "La Goccia d' Acqua" / "A Gota d' Água" ("The Drop of Water") The nurse Helen Chester (Jacqueline Pierreux) is summoned to prepare the body of a countess for her funeral. She steals the worthy ring from her finger. The countess comes back from beyond to retrieve her ring, scaring the frightened greedy woman. There are few modifications in the American version. My vote is eight.

These three tales are excellent. With the direction of Mario Bava, this film explores themes related to fear, anxiety, greedy and guilty in a splendid scary way. Unfortunately the American version is terrible compared to the Italian version. My vote is eight.

Title (Brazil):"Black Sabbath - As Três Máscaras do Terror" ("Black Sabbath - The Three Masks of Terror")

"Tre volti della paura " is a movie made up of three sketches,linked by Boris Karloff's comments -he plays the lead in the second segment - and all dealing with death following a logical progression:fear of death in the first sketch,some kind of "night of the living dead"cum vampires in the second one and terror around a dead woman in the third.Mario Bava did not need any special effects that mar so many horror films today:his baroque settings (Michele Mercier's flat in the first sketch,the countess's Gothic mansion in the third,and the lunar landscapes in the middle one),his knowing lighting effects,his color research,his incredibly effective use of the depth of field (visually stunning in the final segment)are as impressive today as they were forty years ago and were a strong influence on other Italian directors such as Dario Argento.Worth the price of admission.