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In a small town in Transylvanian, police detective Kruger calls upon Doctor Paul Eswai to perform an autopsy on a woman who died a violent death, but the unusual thing is that a coin was embedded in her heart. When Dr Eswai arrives in town he discovers that the town is paralysed by fear of a dreaded curse of a spirit of a young girl who died 20 years earlier and the towns folk aren't all to happy about doctor interfering in their business.

Breathtaking! Yes, breathtaking indeed. It's only my third viewing of a Mario Bava film and what a talented and versatile director he is. This film breathes Gothic atmosphere and chills, with air of mystery to keep you glued to this subtle nightmare. The remote nature of the film adds to the spooky sets with dark shadowy pathways, creepy graveyard, a misty town with its eerie ruins and a downright unnerving Villa Graps, where the locals fear to tread! The whole surroundings come across as rather forbiddingly stark and very alienating. With a colour scheme that jumps out at you and that only Bava can create. What compensates the visual flair is the horrifyingly tense, but mystical score and effectively jittery sound effects. Damn that hissing wind! Also profound camera work that's incredibly vivid and swirling panning all over the place helps convey such a brood mood. There always seemed to be lurking danger even if it wasn't evident on screen. With all that, we are put into a whirlwind of such unease, which bleeds with a high amount of tension and frights.

The odd plot builds on the superstition and the dialogue was rather interesting. Performances were so-so, no one really stood out, but they fit the buck. Really, Bava was the real star here and it shows. Even the special effects were well used, but the make-up of child spirit was damn freaky. Especially those scenes with those hands going pitta padder at the window seal. Shivers ran down my spine! Although, saying that it does have some weak spots in the continuity of the plot and I thought ending was all a bit too convenient. Anyhow, this didn't damaged my experience of this menacing chiller that grows on atmosphere, not violence. The story might be your standard run of the mill, but it's Bava's direction that makes it visually impressive and immensely spooky. Also, what a great title!

Highly recommended!

I was fortunate to see the original Italian version of 'Kill, Baby..Kill!' last night, with subtitles and not dubbing. Some of the dubbed versions of 60s and 70s European horror movies available, by Bava, Argento, Franco, Rollin and other notable directors, are badly done and make the movies seem silly and amateurish, so I was very glad to see this in its original language. I don't think this movie is as impressive as Bava's classic 'Black Sunday', but it is an excellent Gothic chiller full of atmosphere and style. Giacomo Rossi-Stuart, from the underrated Vincent Price post-apocalyptic thriller 'The Last Man On Earth', plays a doctor sent to perform an autopsy on a woman who has died mysteriously. The villagers are cagey and uncooperative, and he soon finds himself in the middle of similar unexplained deaths which seem to have some connection with the nearby Villa Graps. The lovely Erika Blanc ('The Devil's Nightmare') plays the doctor's love interest, and the sexy Fabienne Dali a local witch. Martin Scorsese has admitted that this movie was an inspiration for one sequence in his 'The Last Temptation Of Christ', and Tim Burton is a card carrying Bava nut ('Sleepy Hollow' is as much a homage to Bava's work as that of Hammer studios). With each Bava movie I see I am further convinced he is quite possibly the most underrated director in movie history. Why he is not a household name is difficult to fathom. Put this one on your "must see" list, directly behind 'Black Sunday' and 'Lisa And The Devil'!

This is a surprisingly effective horror film, since I got it on a collection of 10 old horror movies for $15. I have three or four other ten horror movie collections and have only seen one or two films from them. I wonder how many more are actually worth watching? I have a love of really old and even really bad horror movies, For some reason terrible old horror movies can be a ton of fun to watch, while terrible new horror movies just come off as exploitative and stupid (Cabin Fever, Wrong Turn, House of the Dead, etc.).

In Mario Bava's 1966 horror classic, Kill, Baby, Kill, there have been some mysterious deaths in a small village, the isolation and pure strangeness of which reminds me of the town from The Wicker Man. Evidently a seven year old girl burned to death 20 years earlier and continues to haunt the town. Anybody that she reveals herself to almost immediately dies a terrible death which will look like suicide to any subsequent investigation. As was also the case in The Wicker Man, the outside detective assigned to the case gradually questions his certainty that it's all just some kind of superstitious hysteria.

He initially explains the phenomena as poverty and ignorance, combined with superstition. A dangerous combination, to be sure. Bava takes this premise and does all kinds of cinematic trickery with it, much more than is common in horror. He makes psychological use of lighting and color, expertly frames his shots within outstanding sets (seriously, even the bad ones are good), and delivers the surprisingly complex story with a level of skill rarely seen in the genre. He makes good use of the quick zoom lens and such ever-effective horror film tools as children and hallways (Kubrick was surely influenced by this film when he made The Shining, we have the ghost of a little girl, the creepy hallways, even the ghostly bouncing ball) and does some great things with a spiral staircase.

I expected the movie to be terrible, at least because of the collection in which it is contained, although I guess I should be careful about assuming that a 10-movie horror collection that comes out to $1.50 per movie will be full of bad ones. One of my other collections has the original House on Haunted Hill and Night of the Living Dead, for example, but I didn't expect many more that would be any good. Kill, Baby, Kill, though, is certainly an overlooked gem.

The American title suggests a serial killer knocking off bouffant-haired go-go dancers in a whiskey bar, but this is really a rather old-fashioned Gothic ghost story. Rossi-Stuart (resembling an auburn-haired Hugh O'Brian at times) plays a coroner, brought to a desolate village where citizens keep killing themselves, apparently against their own will. It seems that the place is cursed because of some long ago wrongdoings and now people are taking their turn at hurling themselves off of walls onto sharp fences or slicing their throats with rusty old weapons. Even more oddly, Rossi-Stuart finds gold and silver coins imbedded in the dead people's hearts! Before the victims commit their acts of suicide, they always see and hear a little girl in a frilly dress who laughs a lot and bounces a ball around. Blanc plays a young woman who has only recently returned to the village following a long tenure at school. She takes a particular interest in the situation and in the doctor when she's assigned to assist him in his autopsies. Also in the mix are a police inspector, a town official, a sorceress, an innkeeper and his daughter and a haunted-looking baroness. The actual plot of this film is pretty simple and straightforward despite the various odd touches and aspects of it. What makes it stand out for many people is the overriding atmosphere and the creativity of the direction. Much attention is paid to setting a mood. There are unnaturally colored lights throughout, heavily detailed sets, creative camera angles and a somewhat hypnotic musical score. These things, to some viewers, help make for a moody and haunting film experience. To other (possibly less patient) viewers, these make for an interminable and boring experience. Regardless of one's acceptance of all the atmospheric elements, the film does offer a few memorable and striking scenes. In one, Rossi-Stuart chases the little girl through room after room until he catches up with himself! Another makes exceptional use of a spiral staircase. It isn't easy, when watching a dubbed version of the film, to accurately gauge the acting, but overall it seems rather solid. This film (along with others by it's director Mario Bava) has influenced and inspired many filmmakers in their own works (amongst them Martin Scorcese and David Lynch.) The deranged baroness (Vivaldi) is clearly a template for Grace Zabriskie in David Lynch's TV series "Twin Peaks". Much of the business of the film has since been cribbed and reworked, so it doesn't always come off as particularly startling now, but that's hardly the fault of the creators, who were among the first to utilize the various ideas. Fans of vintage horror should find themselves entertained for its relatively brief running time.

I wonder was Mario Bava ever head-hunted by Hammer? This film is so gorgeously shot, the set-designs so perfect, that the film has the look of a fairy-tale nightmare. The gorgeous art-direction serves the story, pacing and director's style very well. This is a very moody piece, that demands your patience and attention. It gave me goose-bumps and in one scene towards the end, made my blood turn cold.

The ghost of a dead child is doing the rounds in a small Carpathian village, killing the inhabitants, who are reluctant to speak about it when a coroner turns up to investigate. He ends running foul of the one in control of the ghost.

I really can't praise the cinematography, set-design and directing enough. This was my first time meeting Mario Bava, and I look forward to watching more of his work, and even watching this one again. The gothic horror is exceptionally done, finely complemented by the set-designs and imagery, that give a nightmare quality to it all.