KNIVES
OF THE AVENGER (1966)Director: Mario Bava
Image Entertainment
KNIVES
OF THE AVENGER (1966)The film begins in 8th Century Scandinavia. A wizened old oracle/priestess prays to the god Odin on the shores of the Baltic Sea in the presence of flaxen-haired Viking queen Karin and her little son, Moki. She implores the two to leave and never look back. Her husband Harald has disappeared at sea three years before. The sorceress tells Karin that her husband shall return nonetheless.
The mother and son are terrorized by the ascent of Hagan, a warrior prince who intends to marry Karin. A lone blond warrior, Rurik, befriends Karin and Moki, and he becomes a father figure to the young boy. Soon agents of Hagan kidnap the boy and we then are given some important background about Rurik.
Rurik at one time had attacked King Harald's encampment and raped Queen Karin. His helmet shielded his face during the heinous act. Once he realizes the connection, his conscience forces him to do what is right and protect Karin and a boy who might even be his own.
True to the prognostication of the sorceress, King Harold returns. He discovers that Hagan's soldiers have kidnapped his son. Together Rurik and Harald hunt down the maverick Hagan whom they dispatch with a "shower of knives." After saving Harald and Moki, Rurik mounts his horse and rides away along the splendor of the coastline.
Characters are unusually well written and delineated in this effort. The viewer grows to know and love or hate each character. Though penned by three authors (including Bava himself) there is a tremendous sense of cohesiveness here lacking in many other works of Italian fantascienza or epics. Kudos to the trio for creating a sensitive and beautiful story.
The musical score by Marcello Giombini sounds more suited for a spaghetti Western; however, the similarities between the story of KNIVES OF THE AVENGER and that of SHANE are so close in spirit that differences blur.
The lavish visual style of this never-before-presented work is yet another jewel in the crown of Mario Bava the filmmaker/artist. The 2.35:1 aspect ratio is breathtaking on a large monitor and the source material is utterly flawless. At times the print seems a bit dark but should be easily correctable (though this isn't often the case).
One can only hope its superior predecessor GLI INVASORI (1961) may receive the same treatment by Image Entertainment or, if released as ERIK THE CONQUEROR (1961) perhaps a release by MGM in all its Widescreen glory. Both films are also tributes to the late Cameron Mitchell (in fact, Pascal Martinet in his French rendition of The Maestro's career, simply titled MARIO BAVA), describes Mitchell as a "Transalpine Gary Cooper." GLI INVASORI is unquestionably Bava's most exciting venture into the pageantry of the Viking invasions of the British Isles. Though KNIVES OF THE AVENGER does not disappoint on any level, GLI INVASORI has far more excitement, swordplay, intrigue, better costumes and even macabre touches only Bava could envision and execute.
David Del Valle, a talk-show host in the late 80s interviewed Mitchell on his cable-access show "Sinister Image." The Bava segment was retained by The Roan Group and later used in the DVD presentation of BLOOD AND BLACK LACE for VCI in 2000. He spoke of his experience making KNIVES OF THE AVENGER; " [it was] a Mario Bava treatment of SHANE, about 1,000 years ago. We had a scene in which I raped another girl. But she was a very beautiful girl and I think she was supposed to be about 16. And you never see my face because I wear a mask -- armor. And the girl was having that time of the month and had some pimples here and there. I said, 'Mario, you can't shoot that scene today.'He said, 'Che problema?'I said, 'You see those marks on her face?'And he said, 'No problem, due minuti.' In two minutes she looked beautiful. That's what a genius he was."
"I've never seen a makeup artist, a cameraman and director as talented as Mario Bava" Mitchell mused. "I did six films with him. He was incredible. He was also a dear friend of mine. In Italy he gets molto respetto. He's the maestro. When I heard he died, I cried. Because I really loved that man. Mario, wherever you are, you son of a bitch, I love you, te amo!"
The disc is abundant with special features. The dialog track may be enjoyed in English or its original Italian language version. Tim Lucas has composed definitive liner notes and has compiled both the Mario Bava biography and filmography that the viewer may access. Other treats include the filmography of Cameron Mitchell, KNIVES OF THE AVENGER's original trailer (amusing and somewhat humorous yet for some reason presented in black & white letterbox format), a poster and photo gallery.
KNIVES OF THE AVENGER is a masterpiece that belongs in the collection of every Mario Bava fan and that of every lover of epic & spectacle cinema. (Christopher Dietrich)