BLACK
SUNDAY: The Mark of Bava
By Christopher Dietrich
Galatea-Jolly
Films. Italy 1960. Premiere in Rome August 1960. Released in USA by American-International
Pictures in February 1961. Black & White. Duration: 84 minutes. Original
title: LA MASCHERA DEL DEMONIO (Italy/Mask of the Demon), MASQUE DU DEMON (France),
REVENGE OF THE VAMPIRE (United Kingdom/1968), DIE STUNDE WENN DRAKULA KOMMT
(Germany/Hour When Dracula Comes).
Director: Mario Bava. Producer: Massimo De Rita. Screenplay: Ennio De Concini & Mario Serandrei from a Tale by Nikolaj Gogol. Music: Roberto Nicolosi/Orchestra conducted by Pierluigi Urbini. Camera: Ubaldo Terzano under the supervision of Mario Bava. Art Direction: Giorgio Giovannini.
Cast: Barbara Steele (Princess Asa & Princess Katia), John Richardson (Dr. Andre Gorobec), Arturo Dominici (Javutich (all European variants) or Javuto (US prints only), Andrea Checchi (Dr. Thomas Kruvajan), Ivo Garrani (Prince Vaida), Enrico Olivieri (Prince Constantine), Antonio Pierfederici (Priest), Tino Bianchi (Ivan), Clara Bindi (Innkeper), Mario Passante (Coachman), Renato Terra (Boris), Germana Dominici (Innkeeper's Daughter).
Image Entertainment has unleashed on DVD the most satanic valentine to gothic cinema ever conceived and at least in this writer's opinion, the greatest horror film ever made. BLACK SUNDAY is not merely equal to the best of Murnau, Whale, Freund and the classic Universal Pictures tradition but surpasses all contenders with M. C. Escheresque visuals informed with the dark poetry of stylish sadism. Barbara Steele imbues her portrayal of the vampire/witch with a demonic majesty never before brought to the screen. Indeed her skeletal, high-cheekbone facial features, a landscape of puncture wounds with wild, thick lips (promising the joys of eternal Hades) are forevermore a landmark symbol of 60s Italian Horror.
The Diva of Darkness was for many years a friend of this writer and related many tales about the making of this film. Barbara Steele recalled to this reviewer that cast members broke for lunches at the local Roman trattorias in full costume, which, no doubt, raised many eyebrows and startled people everywhere as the crew dined on pasta and drank red wine. In addition to this, Barbara was coached by a piano instructor for her musical interlude in the earlier half of the picture. During one of her scenes at the stake her clothes caught fire and Bava, rather than commanding the action to cease, continued to film the scene. She also added that there never was a script for the film and her pages were handed down daily (as the rest of the cast), leaving the entire crew in mystery as to what action would happen next. She spoke warmly of her co-star, John Richardson.
Martine Beswicke, also a friend of this writer, was well acquainted with the classically handsome John Richardson. In fact, both were romantically linked before, during and after the making of MASK OF THE DEMON. She assured me that Richardson's great passion was collecting automobiles and he sometimes appeared in films as long as a car was included in the contract. Steele added that she and Richardson were signed by Rank Organization at the same time and consequently appeared in two films together (BACHELOR OF HEARTS (1958) and THE 39 STEPS (1959). Both actress assured this writer that Richardson quit the acting profession completely and became a noteworthy photographer with no desire whatsoever in looking back on his career in cinema. He is said to be still living in a small town somewhere in the United Kingdom.
The late Arturo Dominici gives the performance of his lifetime as the vampire/sorcerer Javutich (Javuto in American prints). The actor appeared in 150 films during his career that ranged from light comedy to detective stories. The swarthy, Turkish-looking Dominici was born in Palermo in 1918 and during the late Fifties and early Sixties essayed villainous roles with unforgettable relish and formidable gusto. He often portrayed evil monarchs or morally challenged characters in numerous epic films from his performances as Eurysteus in HERCULES (1957) to his turn as Achilles in THE TROJAN HORSE (1962) to Prince Osman in THIEF OF BAGHDAD (1961) all opposite Steve Reeves. Dominici passed away in September of 1992 of throat cancer.
Though most genre aficionados are well acquainted with plot details, a brief summary shall follow.
The tale begins in the wilds of 17th Century Moldavia, a land of twisted barren trees surrounded by thick fog and ubiquitous gloom. Princess Asa of the aristocratic Vaida family and her serf, Javutich, have been found guilty of witchcraft and acts of sorcery. Asa's own brother, the Grand Inquisitor, sentences both to death at the stake. As a bronze mask lined with sharp spikes is placed up to her face, Asa curses her brother and his descendants for the centuries to follow. Scores of robed priests carrying torches observe as one massive blow from a sledgehammer strikes the mask, impaling the witch to the stake. An attempt to set the two ablaze is thwarted by the fury of a sudden nocturnal storm. The priests carry off the bodies of Asaand Javutich for burial.
Two centuries later the elder Dr. Kruvajan and his handsome young associate, Dr. Gorobec are en route to a medical convention. Their carriage proceeds through spectral forests and breaks down in front of a ruined chapel. Inside they discover an ancient crypt with a stone tomb illuminated by moonlight. Kruvajan's inspection of the sarcophagus reveals the body of Asa the witch still wearing the devil's mask. A huge bat flies out from the darkness and attacks the doctor. Kruvajan beats the animal to death with his cane, in the process damaging the tomb and shattering a window recessed in its lid. He wounds his hand in the fury of the moment. Drops of his blood fall into the empty eye sockets of Asa's corpse. After the doctors exit the crypt the blood starts reviving the cadaver.
Back at the castle Prince Vaida sits in fear before the burning embers of a massive fireplace. His daughter Katia (the mirror image of her ancestor, Asa) seems rather apprehensive as she plays a melody on the piano. Her brother, Prince Constantine, notes that wolves seem to be present despite the lateness of the season. Prince Vaida, already in the grip of fear, begs his children to retire for the night, noting that this day is Black Sunday, the anniversary of the execution of Asa and Javutich and the one-day in each century when Satan walks among the living.
Back in the crypt Asa summons her undead lover, Javutich to rise from the grave. Fierce winds howl throughout the night skies punctuated with thunder and lightning, responding to her otherworldly command. The earth above Javutich's grave heaves with inexorable, supernatural force. Talons wet with the slime of the grave force their way through the dirt. The face of Javutich covered with the devil's mask emerges. His rotting shroud falls aside as he forces the mask from his face and lumbers off into the night.
Javutich abducts Dr. Kruvajan and speeds away to Castle Vaida in a hellish frenzy. Through a secret passageway he leads the doctor to the crypt and vanishes. There he stands once again before the tomb of Asa that rumbles, shakes and finally explodes before his apoplectic eyes. Asa beckons the doctor forward and Kruvajan helplessly complies. In one of the film's best scenes, he bends over her body and they kiss... a necrophilic moment which is unforgettable and available in only European variations of this film. For American audiences this was deemed too strong by the Nicholson/Arkoff team and only a fade-out on Steele's punctured face remains.
The next morning Dr. Gorobec arrives at the castle searching for Kruvajan. He receives an icy reception from Prince Constantine who informs him that Prince Vaida, despite the presence and then disappearance of the elder doctor, passed away during the night. Gorobec is taken aback in disbelief and conveys his puzzlement at Kruvajan's peculiar behavior. Princess Katia invites Gorobec to stay overnight to assist and protect the family in its grief. Katia and Gorobec exchange romantic glances and the young doctor unhesitatingly agrees to remain within the Vaida walls.
As the royal family prepares for the funeral, Kruvajan appears in Gorobec's bedchamber. He warns the young assistant not to meddle in the unfolding drama and flees from the room.
Gorobec & Constantine discover a secret passageway to the crypt through the castle fireplace. Soon before them is the body of Asa lying on the shattered tomb breathing menacingly, her puncture wounds in full display as her talons scrape the stone remains of her resting-place. Gorobec rushes off to the village seeking the assistance of the local priest. Javutich appears in the crypt and murders Constantine. The vampire then abducts Katia and presents her unconscious body to the reanimated witch. Asa drains away Katia's life force and Asa transforms into the youthful likeness of her innocent descendant.
Gorobec and the village priest arrive at the castle. The young doctor searches the palace for Katia and instead faces the enraged Javutich. A fight to the death ensues and Gorobec hurls the warlock into a pit filled with glistening spikes.
Gorobec then faces the bodies of Asa and Katia that now appear indistinguishable from each other. He attempts to embrace the one he believes is Katia but her dark cloak slips away revealing bones covered with decay and putrescence. Gorobec gasps as the witch commands him to become her next victim, promising him "pleasures mortals cannot know."
The priest bursts into the crypt with a throng of villagers. They overcome the witch, bind her to a ladder and set a pyre beneath her ablaze. Gorobec weeps over the lifeless body of Katia as the priest consoles him. The princess is revived in Gorobec's arms and they kiss. The film closes as the screaming, shrieking witch is engulfed in flames thus ending her reign of terror forever.
The visual quality of the 1.66:1 presentation of this film is splendid. Original Italian titles are utilized with credits superimposed over the satanic mask. This masterpiece has never before been so sensationally presented and all disciples of Mario Bava will be overwhelmed at the beauty of its dark romance.
Defined by its superior atmosphere and the otherworldly art direction by Giorgio Giovannini, this film is the genesis of the Italian horror cycle and is hands down the best of them all.
The audio commentary by Tim Lucas is brilliant -- a landmark. His observations, insights and personal vision are abundantly in evidence here in this dazzling production. Extras include a never-before-seen continental trailer for the film, poster and photo gallery, transcript of a deleted scene from Italian to English (thanks to this reviewer). In fact, this writer transcribed and translated the entire picture -- dialogue and action -- from an Italian PAL copy of the film.
This superb effort may have benefited from a dialogue track with Barbara Steele, the inclusion of the American-International Pictures print with Les Baxter's unfairly maligned score (it's 100% better than the sparse, overrated Roberto Nicolosi score). All the aforementioned would have been the proverbial frosting on Miss Havisham's cake.
BLACK SUNDAY is Italian gothic horror at its finest, the best of Mario Bava, the pivotal moment in Barbara Steele's career and a must for every horror enthusiast.