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 The swinging hipster soundtrack has been replaced by dark, psychedelic music from short-lived prog-rock group Libra.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

PATRICK VIVE ANCORA aka Patrick Still Lives

(Mario Landi, 1980)

What do you get when you blend Aussie horror flick Patrick, Bianchi's Burial Ground, and D'Amato's Anthropophagus? Patrick Still Lives! If guilty pleasures were measured in calories, this delicious dish would cause multiple heart attacks in just one viewing. Let's start with the story. Professor Herschell and his son Patrick are stranded on the road. A passing motorist throws a bottle out the window, striking Patrick on the head. He survives, though now comatose. Some time after that (we're never told exactly how long) Prof. Herschell invites a group of sleazy guests to stay at his villa/ laboratory. Yes, it's the SAME villa (and setup) that was used in Burial Ground: The Nights of Terror (and I'm sure Mariangela Giordano must have been squatting in it because she appears in this movie as well!) The Professor keeps Patrick mentally wired to three other patients, apparently allowing him to focus his telepathic abilities. After more than a few raunchy episodes, each of the guests are bumped off, each death nastier and more graphic than the last. So, what are Patrick's powers? In addition to being able to physically manipulate objects, he can project a glowing green pair of eyes, control animals, boil water, hypnotize others, and create smoke and light displays.

PC and feminist viewers should definitely stay away from this! There is ABUNDANT nudity, male and female frontal alike, and ALL of the women in the cast get naked at some point...and usually die naked, with the camera lingering inappropriately on their blood-spattered vaginae and breasts. The level of misogyny in this film is staggering, featuring no less than 5 female slaps (in all fairness, one of them slaps back- ah, social progress in early 80s Italy!) The female cast are incredibly one-dimensional as a whole, whose only purpose seems to be to get drunk, act slutty, get beaten, and eventually die drawn-out, mean-spirited deaths.

But that's what's so much fun about it- you can make a drinking game to this! Have a shot whenever there's breasts! Have another when someone gets slapped! Have another when someone's BREASTS get slapped! Ok, that doesn't actually happen. Even if you aren't in the drinking mood, this movie provides lots of laughs. The storyline is ridiculous, the characters INCREDIBLY stupid, and the "script" unbelievable. The soundtrack by Berto Pisano is actually appropriate, sort of a blend of Goblin-style prog and 50's moon music (oooOO-EEEEEEE-OOooooo). There are no English dubs of this film (fortunately- one can only imagine!). It is in Italian with subtitles only. Recommended for viewing in the tub, as most will feel really dirty after.

Buy It

DON'T LOOK IN THE ATTIC

(Carlo Ausino, 1982)



A young woman, her 2 cousins, and the one's wife move into a cursed villa that they inherit. What's the curse? Apparently, it's making them all turn on each other and causing a car to hit the wife. There's a little supernatural spookiness, and a little atmosphere, but this flick just doesn't have the goods.



The dubbing is especially horrible (worse than Demons 2!), the dialogue hilarious, and the actors suitably bottom-of-the-barrel. There is almost NO blood or violence, so anyone sitting through this for the first 40 minutes thinking "it's gonna pay off soon!" will feel incredibly slighted.



The one good thing I can say about this otherwise humdrum affair is that it does have style. The scenes are well laid-out, well lit, and provide a perfect backdrop for the score by Stelvio Cipriani. One might notice a few nods to Dario Argento and Lucio Fulci. If you've seen everything but Don't Look in the Attic, Evil Clutch, and Fatal Frames, then watch this.



Buy It

THE NIGHT CHILD aka The Cursed Medallion

(Massimo Dallamano, 1975)

Another personal favorite here.
I must begin by stressing that no matter what you may have heard about this being an Exorcist or Omen rip-off, it is NOT. Possession and the Devil were very popular topics at the time (thanks to aforementioned fright flicks) and Italy had its share of REAL knock-offs (Beyond the Door, The Antichrist, The Eerie Midnight Horror Show), but this isn't one of them!

Richard Johnson plays Michael Williams, who is filming a special on diabolic art for the BBC. One frightening painting in his slide collection fascinates him, and he decides he wants to see the original. Before going he gifts an old medallion to his daughter Emily (Nicoletta Elmi), who then has nightmares of being hunted by torch and pitchfork- wielding peasants. Their doctor recommends Michael take his daughter with him on his trip to locate the painting as it might do them some good to get away together (with the new wife and nanny in tow).

Emily's bad behavior and nightmares increase the closer Michael gets to discovering the meaning of the painting, as do other supernatural occurrences. Only when the nanny "accidentally" dies does Michael consider the possibility that something sinister may be working through his daughter.
Anyone expecting lewd and vulgar possession mayhem should steer clear of this. It is a beautiful, slow moving film with breathtaking photography, locations, and music by Stelvio Cipriani. The scares are subtle, and may not register with some viewers the first time through. It is well-written, filled with symbolism, and has no cheap "fright" scenes to spoil the mood. Like any truly creepy film should, it builds to a shocking climax and has a downbeat ending.

The actual scary bits and flashbacks do have a slight *hint* of The Omen taste, but with a much sunnier look to counterbalance all the shadowy scenes. If you made it through (and liked) Aliprandi's A Whisper in the Dark, this might be right up your alley.