Barão Sanguinário

Peter goes to Austria to relax after getting his MA and to..."find his roots." He stays with an uncle who shows him the castle that belonged to his dead ancestor (aka Baron Blood), who was notorious for his torture chamber. He meets an architecture student named Eva and they find out the Baron was cursed under a witch's spell. So they decide to invoke the Baron's spirit. Why? Because Peter can't pass the chance to get to know one of his ancestors. Really. This is the worst Bava movie I've seen so far. Not to say it was bad. Baron Blood is very stylish and entertaining, gruesome, suspenseful, and the sets are great. The main problem is that the plot is absurd and the characters and their apparent motivations are extremely stupid. The horrid 70s song that opens and closes the movie should have never been recorded. My Rating: 5.5/10

Imagine you knew the incantation that would bring Dracula back to life. Sure, he had a habit of murdering people from time to time, but wouldn't it be really amazing to see him in the flesh? This is essentially the premise of 'Baron Blood', although the dreaded Otto Von Kleist of the tale is far more Vlad than Dracula - a man who would happily spend the afternoon strapping someone to a rack and cutting their fingers off as we would spend it renting a DVD. Flash forward to the 20th century, where his great great great etc grandson Peter, who decides to pay a visit to his homeland of Austria during a gap year to get in touch with his roots, stumbles across just such an incantation. The chance to meet his infamous ancestor: who could resist?

Director Mario Bava shows what competent continental rivals to Hammer studios could do with the same formula. Classic horror aficionados will find much to compare, with the same ancient evils resurrected plot wise, the same helpless busty heroines, and the same near blackness films of the 70s often had, forcing the viewer to reach for the brightness control. There is even the obligatory witch to pull the story several notches away from horror in the direction of the occult, evoking "Cry Of The Banshee" to name one British contemporary. Yet despite being typical of the genre, 'Baron Blood' stands out in a few areas. Bava takes us to a real Austrian castle, the magnificent Berg Kreuzenstein, which oozes character all its own. It's also set in then-present day Austria. Hammer would often take us back a century for the action, although to be fair, this was already the era of Dr Phibes, which showed a monster in the 20th Century would probably scare the viewer more. Then, if you've got the US version, there's Les Baxter's soundtrack, which strongly suggests he didn't know it was a horror film. Why, was Stelvio Cipriani's original score deemed to scary for Americans, i.e - doing what it was supposed to do?

On the acting side of things, the cast do a fair job. Nothing award-winning, but they have just enough conviction to make you believe them. Rising above this however is the exceptional Joseph Cotton, as the mysterious Alfred Becker, a millionaire who suddenly appears out of the ether to buy the baron's castle. Given that the script is not one to hide its twists very well, Cotton is a welcome compensation. You can't help but look at him whenever he appears, wondering what he'll do next.

Overall, 'Baron Blood' breaks no new ground, but gives the genre fan most of the things they would expect, with some excellent location work and a memorable villain into the bargain. English-language viewers may scratch their heads at the mystifying score, but don't let it put you off - this is just the ticket for late-evening viewing.

Mario Bava's BARON BLOOD is a fine a tribute to the monster movies of Hollywood's golden age. So evocative of that period is this film that it takes not even a moment's thought to mentally recast Boris Karloff as the Baron, Nan Grey as his intended victim and to tune away the vivid Technicolor into haunting black and white.

As in FRANKENSTIEN or THE MUMMY, the evil in the film is unwittingly unleashed upon the world by the film's hero. In this case it is American Peter Kleist, who returns to the German castle of his ancestor Baron Otto Von Kleist. Even though he is aware that his ancestor, nicknamed "Baron Blood" was a sadistic monster who butchered and tortured the people of the countryside, Peter foolishly recites an ancient spell capable of resurrecting the Baron. The restored Von Kleist immediately resumes his homicidal ways, and now Peter, assisted by the beautiful Elke Sommer as a local historian, must find a way to undo what he has thoughtlessly wrought.

In the classic horror films of the 1930's the monsters were iconic and unforgettable, while the heroes were bland and almost entirely irrelevant. After all, who remembers who played the "hero" opposite Lugosi in Dracula or Karloff in THE MUMMY? (For trivia's sake it was David Manners in both films.) No, the villain/monster may have spent much of the picture lurking about off screen, or skulking in the shadows, but nevertheless he was always indisputably the star of the show.

BARON BLOOD maintains this link to its cinematic forbearers. Antonio Cantafora's Peter Kleist is satisfactory, but eminently forgettable, while Joseph Cotton, obviously having a ball, is terrific in his villainous role. Cotton's performance as the resurrected Von Kleist is spot on perfect, filled with evil charm and malevolent glee. He dominates the screen in the best tradition of the movie monsters of old.

In fact, there is only one significant departure from the classic monster films. Even in the days before the Hayes Commission, blood and gore were rarely seen and usually only suggested in Hollywood motion pictures. BARON BLOOD was produced without such restrictions and, though mild when compared to more recent horror films, it does contain some explicit moments that would have been completely unacceptable in the 1930's. Even as a tribute to the grand old days, it must remembered that BARON BLOOD was produced to appeal to a contemporary 1970's audience. Bava however realized that things modern will inevitably intrude upon the classic, and made light of this by placing soda pop machines in the halls of the Gothic Von Kleist castle and having prerecorded screams available in the Baron's torture chamber at the flip of a switch.

Not as arty as LISA AND THE DEVIL, not as graphic as BAY OF BLOOD, BARON BLOOD is often unjustly overlooked, or simply dismissed as a minor effort of Mario Bava's later period. Such hasty judgments do the film a great disservice. If BARON BLOOD has less of the striking cinematography of Bava's best films, it must be argued that such innovation would be out of place in a film striving to recapture the look and atmosphere of the original Hollywood horror movies. If one accepts the movie for what it is, a fine tribute to the genre's past, then BARON BLOOD is a great success, both as a homage and as work unto itself.

BARON BLOOD has been released in numerous VHS and laserdisc editions. The DVD release from Image Entertainment is probably the best example of the film currently available, featuring an uncut 1.85:1 widescreen presentation of the film, complete with the original European musical score, which was replaced when the film was released theatrically in North America.

A young man travels to Europe and visits the ancient castle of a rather notorious ancestor called Baron Blood, a man whose name is still not very popular in the surrounding villages. Seems the Baron was a bit of a sadist, just in case the "Baron Blood" title didn't give it away already. Our young hero, Peter, meets Elke Sommer, and instead of breaking into the castles dungeon in the middle of the night and having sex like any normal hot young couple in the early 70s,

these two brilliantly decide instead to perform a centuries old ritual designed to raise the dead. When will these people learn? The Baron rises, seen first as a Phantom-of-the-Opera type guy with a face like a spoiled casserole, and later as a wheelchair bound and Maybelline dependent Joseph Cotton.

This really isn't a bad little film. There's some great spooky lighting techniques, some even better funky music and some gorgeous shots of the European

countryside. The ancient, crumbling castle is a wonderful set and the death

scenes are quite gruesome, especially the one featuring an Iron Maiden-ish

casket and a guy who looks a LOT like the late great Peter Lorre. In a nice twist, there's even a centuries-dead witch who turns out to be the GOOD guy! (Or girl, as the case may be) The acting isn't that great, but it doesn't make this an unwatchable film by any means. The story seems loosely based on the life of

Vlad the Impaler, but still manages to be original and interesting. A nice feeling of dread permeates the entire film. One of Bava's best efforts.

Outlandish , sick Mario Bava terror flick , it contains thrills, chills, gory effects, scary happenings and high body-count . A young man called Peter (Antonio Cantafora or Michael Coby) goes back to Austria , there he is greeted by his uncle , Karl Hummel (Massimo Girotti), who invites him to stay at his house . After that , both of them visiting the castle of a murderous ancestor , he was the Baron Otto Van Kleist (Joseph Cotten , though at the beginning Vincent Price was approached to play him but he turned down) , a sadistic Baron who was cursed to a horrible death by a witch whom the Baron had burned at the stake . Shortly after , Peter befriends Eva (Elke Sommer) , a history scholar , both of whom go to the eerie castle and read aloud an ancient incantation inside the bell tower . It accidentally brings his dead relative back to life and searching for new victims . Later on , the impressive castle is offered in auction being bought by the cripple Alfred Becker (Joseph Cotten) and then things go wrong when appearing the horrible Baron while continuing his murderous tortures . The movie advert contains sympathetic gimmicks : ¨Special notice : The management disclaims any responsibility for patrons who suffer (A) apopletic strokes , (B) hemorrahages , (C), or (D) Fainting spells during the shockingly gruesome scenes in this film¨. Your Blood Will Run Cold and BoxOffice Hot when "BAR0N BLOOD" comes to town! Positively the most horrifying film ever made...He sought the ultimate in Human Agony ... with instruments of Torture ghastly beyond belief!

Thrilling Italian horror with Mario Bava typical characteristics displaying chills , shocks , violence and torture . Nice terror movie revolving around a haunted castle plot with plenty of murders , eerie appearance by a preternatural being , creepy torture and ghastly events . Set at a ghastly castle where happens scabrous and horrifying events . In spite of a few escenarios and its medium budget the picture is decent , thanks to the adequate filmmaking , stunning cinematography taking great use of lights and shades as well as camera positioning to complement appropriate horror set pieces . This Italian production has Joseph Cotten as a baron who lures his victims at his foreboding castle in order to go on a criminal spree , his makeup was created by the subsequently very popular Carlo Rambaldi , ¨ET's creator¨. Stars the unknown actor Antonio Cantafora who used to use pseudonym Michael Coby , starring some lousy Spaghetti Western . And the gorgeous Elke Sommer shining in her strident mini-shorts , here she became a Scream Queen along with ¨Lisa and the Devil¨ also directed by Mario Bava . This is an acceptable and passable terror film , but no extraordinary ; in fact , Mario Bava directed much better other terror classics . Although packing some good shock images , this Baron Blood doesn't live to its source material .

It packs a colorful cinematography by Antonio Rinaldi as director of photography and Mario Bava himself , though uncredited , shot between september and noviembre 1971 in Burg Kreuzenstein , Austria , at a fairy-tale fortress , near valley of Danube . As well as frightening and suspenseful musical score by Stelvio Cippriani , though the American version was composed by Lex Baxter . The picture was professionally directed by Mario Bava in his usual style , but it has some flaws and gaps . Bava uses his ordinary visual tricks, sustaining interest enough through the fantastic and well-designed scenarios and when there shows up the creepy and scarred Baron who definitively steals the show . Bava was an expert on terror movies, such as : "I vampiri" codirected by Riccardo Freda , "Black Sunday" with horror myth Barbara Steele, "The Whip and the Body" with Christopher Lee, "The girl who knew too much" considered to be the first Giallo, "Black Sabbath" with Boris Karloff, "Planet of Vampires" with Barry Sullivan , "Kill baby kill" , "Hatchet for the honeymoon" , "5 dolls for an August Moon" , "Torture of chamber of baron blood" with "Lisa and the Devil" with Telly Savalas and his last one "Schock" . Though Bava also made other genres as Peplum : "Hercules in the haunted world" , sex comedy : "Four times that night", Viking movie : "Knives of the avenger" and Oriental fantasy : "The wonders of Aladdin" . The picture will appeal to terror genre buffs. Rating 6.5/10.