BODY COUNT aka Camping Del Terrore

(Ruggero Deodato, 1987)

The plot for this by-the-numbers Italian slasher is threadbare and derivative, to say the least. Simply put, a group of young people take a trip into the woods to stay at their friend Ben's parents' cabin. There they learn of an old legend about a shaman who cursed the grounds and still roams the woods in search of victims. Then they are systematically slaughtered, and their corpses hidden in a run-down washroom/ change room near the house. There's also a subplot concerning the mother, Julia (Mimsey Farmer), who is cheating on her husband Robert (David Hess) with a police officer.

Like I said, the story is simple and tired. Deodato does, however, provide a few genuine surprises along the way as the shaman can teleport and manipulate objects by means of magic. This isn't related to the viewer until the end of the film, so many of the murders seem nonsensical or implausible, an opinion that is only reinforced by the characters' completely unrealistic reactions to the situations in which they find themselves.

Don't write off Body Count too soon though. Being an Italian horror film, it does possess a fair amount of visual style and some decent scare scenes, not to mention a fair amount of blood. The score, performed by Claudio Simonetti, is eerie and quite appropriate. Finally, I should mention that the cast is full of Italian horror regulars, including Mimsey Farmer (Four Flies on Grey Velvet, Autopsy), John Steiner (Shock, Tenebre), David Hess (House on the Edge of the Park), and Ivan Rassimov (Spasmo, All the Colors of the Dark). Sadly, only Farmer and Hess are given sizable roles as most of the film concentrates on the younger cast members, who play soulless teen stereotypes.

In all, I would recommend this, but to intermediate viewers only. It IS one of the better Italian horror films of the late 80's, but that's not necessarily saying much. It's not yet been released on DVD in North America, so happy downloading!

TENEBRE aka Unsane

(Dario Argento, 1982)

Oh, how does one review Tenebre and do it the justice it so very well deserves? Keep the words short and let the pictures do the talking!

American writer Peter Neal (Anthony Franciosa) is in Rome to promote his latest novel, Tenebre. An insane fan has begun killing off what he refers to as "perverts", "thieves", and "spies" in manners described in Tenebre, and soon threatens Neal himself. The police, as usual, are little help, so Peter, his agent Bullmer (John Saxon), secretary Anne (Daria Nicolodi), and his assistant Gianni take up an investigation of their own.

Sounds cute, right? Some consider this Argento's response to the American slasher film, which means it has some VERY gory set-pieces and still feels distinctly Italian. The story is quite clever, though some may feel that it takes too long to get through certain scenes, or that Dario injected too much humor into it. I am of the opinion that the slow pacing actually works, as it gives more impact to the rapid bursts of excessive violence.

Argento went in a new direction visually with Tenebre. It is a very bright film, with white or neutral interiors, wardrobes, and lighting...really just a big canvas onto which he splatters a lot of red! A very early 80s look.

Finally, about the soundtrack...Though it's not performed by the WHOLE Goblin lineup, I would have to say the Tenebre soundtrack is actually quite enjoyable in an early 80s drum-machine-and-vocoder kind of way. I actually bought it. SOOoo worth it. Ya, the movie's worth a watch too!

Buy It

SHOCK aka Beyond The Door II

(Mario Bava, 1977)

Mario Bava's final feature definitely stands out from the other films in his repertoire. Gone is the over-saturated colored lighting, replaced by a magical 70's sun that gradually disintegrates as the film progresses. The swinging hipster soundtrack has been replaced by dark, psychedelic music from short-lived prog-rock group Libra. One thing Bava did bring to Shock (besides Daria Nicolodi, John Steiner, and Ivan Rassimov) is that psychedelic thing he did so well.

Dora and new husband Bruno have just moved back into the house that she shared with her first husband. She is still recovering from a nervous breakdown, which occurred just after her junkie husband went missing. Upon settling in, her son Marco begins behaving strangely (frightening and threatening her, cutting up her panties- that sort of thing!)

Dora herself starts behaving strangely, having bizarre hallucinations and nightmares, and believing that her son may be trying to kill her. Bruno, of course, tells her that she's been under a lot of strain and needs to relax. All of the incidents seem to be connected with Dora's missing husband, and Marco is starting to behave like him. Someone even hides a razor in the piano keys for her, and sends her flowers in her husband's name.

Shock is an excellent example of low-key horror. The story is well-written, the acting is above par for this type of film, and a few of the scares are guaranteed to make you jump. Daria Nicolodi shines in this, and is very believable as she goes from "stable again" to "completely bonkers". Bava's camerawork is tight as ever, though some credit does go to son Lamberto for his contributions to the direction. Mario always had an eye for lighting and set design, and manages to make even a late 70's living room look like something from an Italian gothic towards the end.

Everything about this movie works for me, from the loopy font in the opening credits to the wonderful downer ending. It's loaded with atmosphere and trippy visuals. The story draws you in and then spirals out of control. Mundane objects like rakes, flower petals, a swing, and even a slinky (!) become menacing as the film progresses; indeed, the entire HOUSE seems to be alive at the end. Hands and mirrors are motifs repeated throughout, which create a uniquely creepy effect. Quite a bit of thought went into the imagery, most of it symbolic of Dora's inability to ever escape her current situation. She dreams her window is walled-over, and that even when safely locked in her room, she is still vulnerable. She even cuts herself while trying to open a bottle of pills as an escape.

After watching this for the 100th time, I couldn't help but wonder if this film inspired more than a couple directors. Could be coincidence, but when Dora wakes up after having her nightie slashed in her dream, only to find it IS slashed... Nightmare On Elm Street, anyone? Lamberto also borrowed a couple images, specifically the box cutter shining in the dark (A Blade in the Dark), and Dora screaming when she discovers a brick wall where her window should have been (Demons).
And then there's the animated furniture...hello, Evil Dead! Highly recommended and easy to obtain, Shock is an essential addition to your Euro Horror collection.
Buy It