One from the re watch pile…
Baron Blood aka Gli Orrori Del Castello Di Norimburga (1972)
Film: I have to preface this review with a short story that I have told to many people, but it particularly refers to this film and my affection for it. You see, Baron Blood was probably the last film to really scare me… not because the film is particularly scary, but instead because of the situation that I found myself in after it.
As a early teenager, I was lucky enough to see this at a little independent cinema known as the Miranda Forum, in Miranda, NSW. The forum did stacks of double features and I was lucky enough to see this film, under the guise of The Torture Chamber Of Baron Blood with another horror film you MAY have heard of called An American Werewolf in London.
The experience of seeing the films was amazing, and after it finished it, my friends were all picked up by their parents and it left me to walk the 5km trip home alone, at about midnight, during a blackout that was effecting the street lights.
Sufficed to say, I ran like a rat up a drainpipe.
Due to this, Baron Blood sits in my brain as a particularly scary film… and let’s just say that the blonde-haired and green-eyed appearance of Elle Sommer set a stamp in my mind that would be permanent, and I have always been mainly attracted to that type.
Much later, after becoming a fan of the work of Mario Bava, whom I discovered through my love of Dario Argento’s body of work, I realised this was in actual fact a Bava film, from a script written by him, Willibard Eser and Vincent Fotre. Even at such a young age I must have instinctively been able to spot great talent!
Anyhow, Baron Blood tells of Peter Kleist (Antonio Cantafora), a young man who has travelled to Austria to see his family’s castle and there he meets the sexy… I’m not sure what she does actually… Eva Arnold (Elke Sommer) and the two of them have an instant attraction.
Peter convinces Eva, as a joke, to perform a ritual that he found written on a parchment discovered at a relatives house to see what happens, and unfortunately for them, and the many victims, it brings the evil legendary Baron Otto Von Kleist (Joseph Cotton) back from the dead, ready to reclaim his castle and murder everyone who gets in his way!
During the ritual, the ceremonial winds… you know the ones, every GOOD evil ritual has them… blows the parchment into the fire, the parchment containing the words to reverse the spell! Without that information, how will our lovestruck heroes survive?
Mario Bava is well known as one of the greatest Italian filmmakers ever, and he has an incredible fluid style with occasionally an almost cartoonish palette which creates a greater sense of depth within his images. His usual extreme colors aren’t present in this film, but it’s a beautiful film nevertheless, and a great example of modern gothic.
The film has a great cast too. Joseph Cotten from The Third Man, Massimo Girotti from Last Tango in Paris, Antonio Cantafora from Demons 2, Elke Sommer from A Shot in the Dark and even Nicoletta Elmi, an child actress seen in many Italian horror films, from Bay of Blood, to The Night Child and Demons.
This film is a particular interesting piece of Bava’s history too as it isn’t filmed in his native Italy, and instead in Vienna. This is interesting as Bava notoriously hated to travel and rarely filmed away from home.
It may be for strange reasons but I love this film, it’s easily one of my favourite Bava films and is well worth a watch, even if you don’t have to walk home in the dark after seeing it.
Format: The reviewed copy of this film was on Arrow Video’s Region B Bluray/ DVD combo pack. The film, on the Bluray, is presented with a 1.78:1 image with a 2.0 Mono and both are fine considering the age of the film and the restoration has brought it back beautifully.
Extras: Oh, boy do we have some extras.
First, there are actually three different versions of the film available to watch on the disc: the ‘export version’, the AIP version and the original Italian version, aka The Horror Of Nuremberg Castle. Being able to watch the film in these three different formats is quite interesting, even though the story doesn’t change. Bare in mind though, the American International Pictures (AIP) version has had a solid 7 minutes cut from it and has a far less interesting musical track accompanying (it’s not bad, just a little horror-movie generic). The entire contents of the Bluray are also presented on two accompanying DVDs as well!
There is an audio commentary by Tim Lucas, the author of Mario Bava: All The Colors of The Dark (a seriously detailed look at Mario Bava’s history) and Video Watchdog editor, which really dissects the film both in its actual story, its place in Bava’s filmography and in Italian cinema in general. This is on the export version of the film.
Introduction by Alan Jones sees respected UK movie expert Alan Jones (not the Australian one) briefly introduce the film and its history.
There are both English and Italian trailers for the film, and some radio spots too.
Bava at Work is a series of photos of Bava making a bunch of different films. There is some interesting shots, but stills belong either in books, or in moonshiner’s backyards.
Ruggero Deodato Interview is a look at the golden age of Italian horror through the eyes of Cannibal Holocaust director Deodato. He has some amusing anecdotes and recollections of Bava and the period.
Also in this package is a booklet with an essay by film critic James Oliver, and details of the restoration process as well. The booklet is illustrated throughout.
WISIA: It’s a permanent nostalgic favourite so it gets a lot of respins at the To Watch Pile Estate.