The first 25 subscribers to DELIRIUM Magazine Year 2 get a FREE $25 Gift Card for FullMoonDirect.com! This will run out fast, so hurry!
Celebrities, writers and genre connoisseurs hit the Burbank, California hot spot Dark Delicacies for the 7th issue of DELIRIUM magazine on May 23rd, 2015. While video is forthcoming, we wanted to give everyone a taste of the fun that was had as hardcore fans got to rub shoulders with a great lineup of guests!
Prolific Eurohorror auteur Jess Franco made over 200 films in his wildly erratic, fascinating career. Among them is the visually splendid, extremely violent and intense 1976 retelling of JACK THE RIPPER, starring the one and only madman of the arthouse Klaus Kinski as Dr. Orloff/The Ripper.
DELIRIUM has an exclusive new interview with legendary European exploitation film producer Erwin C. Dietrich and Swiss actress Nikola Weisse on the making of this Franco classic and working with two of genre cinema’s most interesting artists.
Filled with amazing art and edifying words, this is our most outrageous issue yet!
And look for a MAJOR Full Moon/Jess Franco announcement in the coming week!
THE GIRL WHO KNEW TOO MUCH and THE WHIP & THE BODY
by Matty Budrewicz & Dave Wain
Amidst the cultural wave of boutique Blu-ray labels, Italian terror titan Mario Bava’s work has perhaps been best served, with superior, often extras-packed editions of his gloriously distinctive shock popping up on a regular basis. This year alone has been particularly rich release-wise, with robust deluxe packages of his long-lost crime potboiler RABID DOGS, the ALIEN-inspiring PLANET OF THE VAMPIRES, and a striking limited edition of his magnum opus BLACK SUNDAY hitting shelves either side of the pond; a fitting way to celebrate what would have been the maestro’s centenary. And now two more can join the party: his 1963 double whammy of THE GIRL WHO KNEW TOO MUCH and THE WHIP & THE BODY, let loose by the UK’s Arrow Video and Odeon Entertainment, respectively.
With a luxurious wealth of Bava goodness to their name already – the aforementioned RABID DOGS and BLACK SUNDAY, and Bava’s third 1963 offering, the Boris Karloff-starring portmanteau BLACK SABBATH – Arrow’s GIRL is yet another impressive string to the companies bow. The quality of the film’s presentation is top-end: Though not quite free from the odd scratch and occasional frame movement, by and large the 2K HD master lovingly struck from the film’s fine grain interpositive – and, partially, internegative – is incredibly pleasing on the eye.
As well as porting over the three key special features from Anchor Bay’s solid 2007 boxset – Bava biographer Tim Lucas’ scholary commentary; a nice nine minute interview with co-star John Saxon; and Italian horror expert Alan Jones’ breezy introduction – Arrow also throw the snappy ‘All About the Girl’ featurette into the supplementary mix; a twenty minute or so appreciation of the film featuring Jones, and filmmakers Richard Stanley (robo-killer thriller HARDWARE) and Luigi Cozzi (goofy Video Nasty CONTAMINATION). Better still, however, is their inclusion of the equally nicely mastered alternative American cut of the film, retitled EVIL EYE by distributor AIP. Despite being just as entertaining, EVIL EYE is, of course, no match for Bava’s intended Italian language version; even if the director himself was unsatisfied with the end result.
THE GIRL WHO KNEW TOO MUCH is a fluffy murder mystery; a Hitch-cocktail of suspense, thrills and gallows humour as a young tourist (Letícia Román) finds herself at the centre of a decade old set of serial killings. And though, as Bava once exclaimed, it’s wholly preposterous, as a technical masterclass it’s unbeatable; a sumptuously shot pulse-pounder, with Bava’s prowling camera and innovative accent on slick, macabre and violent imagery laying the groundwork for the myriad of gialli that would follow – a genre Bava himself would refine the next year with BLOOD AND BLACK LACE, and later re-work with slasher progenitor A BAY OF BLOOD.
With THE GIRL WHO KNEW TOO MUCH being widely acknowledged as the first giallo, as author Troy Howarth suggests in his insightful liner notes for Odeon’s THE WHIP & THE BODY, WHIP too could belong to that genre with its overt luridness and mystery-themed narrative. Regardless, Odeon finally gives the film the love it deserves following years of showing up on TV in a washed out, soulless full screen print. The HD clarity is nothing short of astounding, perfect for what is, again, one of Bava’s most beautifully lensed films; from the familiar Anzio-based coastal sequences, to the lush, shadowy textures of the castle interior; dripping with atmosphere and melodrama.
Often – incorrectly – criticized for its supposed languid pacing, really it is here where Bava truly excels, delivering a slow-burning escalation of terror as the ghost of a sadistic nobleman (the immortal Christopher Lee) terrorises his family following his death. With cast and crew all credited with English pseudonyms, the film betrays producer-led aspirations of fitting alongside the gothic vogue of Hammer and the Corman-Poe cycle; Bava, however, may well have surpassed them all.
Just as he did on Arrow’s GIRL, Tim Lucas is present for Odeon’s talk-track duties, the Video Watchdog editor having re-recorded his commentary from VCI’s fourteen year old region 0 NTSC disc in the wake of his knowledge expanding friendship with the film’s lead, Daliah Lavi. It’s another typically comprehensive and rewarding listen. Elsewhere, Odeon have included an engaging and detailed twenty-two minute overview of the film by film historian Jonathan Rigby, and a leisurely forty-five minute conversation with Lee, taken from the the ‘British Legends of Stage & Screen’ series. It may not be quite as lavish as Arrow’s GIRL, but Odeon’s WHIP is every bit as vital for students of spaghetti scares and connoisseurs of charismatic classic horror.
Snap ’em up.
THE GIRL WHO KNEW TOO MUCH DELIRIUM REVIEW 8/10
THE WHIP & THE BODY DELIRIUM REVIEW 8/10
by Dave Wain
Sheridan Le Fanu, the famed Irish author of Gothic tales and mystery stories first published Carmilla in 1871. This tale of a lustful female vampire predated Bram Stoker’s Dracula by just over a quarter of a century, and Stoker’s tale certainly displays a multitude of similarities to hint at a degree of influence being had from Le Fanu’s story. In the celluloid universe Dracula has of course been adapted a myriad of times, Carmilla less so – Carl Dreyer’s VAMPYR and Roger Vadim’s ET MOURIR DE PLAISIR being two notable film versions, but it was with Hammer’s THE VAMPIRE LOVERS that Carmilla would perhaps receive its most faithful retelling.
Making her Hammer debut is Ingrid Pitt who plays the seductive Marcilla Karnstein. Finding herself in the care of General von Spielsdorf (Peter Cushing) and his family in Styria, Austria, Marcilla becomes close to the General’s niece, Laura (Pippa Steel). This bond is short-lived however when Laura experiences a slow death plagued with prolonged sickness. Marcilla, leaving the scene of this tragedy adopts the alias ‘Carmilla’ and settles into a new abode, this time at the home of Mr. Morton (George Cole) whose daughter Emma (Madeline Smith) she grows close to and ultimately seduces. Such nefarious behaviour arouses suspicion in the household, but with the addition of an accomplice in Madame Perrodot (Kate O’Mara), Carmilla becomes a seemingly unstoppable threat.
The beginning of the 1970s accelerated what was already becoming a new dawn in the world of European horror. With the emergence of such iconic directors as Dario Argento, Lucio Fulci and Jess Franco as well as the Naschy / Klimovsky collaborations, Hammer were in danger of being classed as a relic of days gone by. Therefore the introduction of the Karnstein Trilogy of films which would continue with LUST FOR A VAMPIRE the following year and then TWINS OF EVIL the year after proved that Hammer were able to move with the times – albeit at the risk of alienating a portion of their fanbase due to these pictures overt sexuality.
It would be very easy to cast aside THE VAMPIRE LOVERS as simply a desperate attempt by Hammer to remain relevant, but in actual fact it’s a classy picture which with its literature based narrative it easily lifts the film into the upper echelons of Hammer’s cannon; its eroticism defining the film as a watershed moment in the studios history. Despite the appearance of both Cushing and George Cole, it’s Ingrid Pitt who makes THE VAMPIRE LOVERS such a worthy movie – and she crucially offers a performance with depth and nuance that far exceeds the simple ‘buxom beauty’ moniker that she’s often predictably labelled with.
If you’re in possession of Scream Factory’s Blu-ray of THE VAMPIRE LOVERS from last year then Final Cut’s edition may seem of little interest to you. Admittedly a double dip would be excessive, and that Roy Ward Baker / Ingrid Pitt / Tudor Gates commentary on Scream’s disc is hard to beat, but Final Cut have certainly put together a tempting package. There’s a new commentary here with respected genre authors Marcus Hearn and Jonathan Rigby which offers a more scholarly analysis of the feature as opposed to the reminiscing nature of Scream’s edition. We also get a new 25 minute documentary entitled ‘New Blood: Hammer Enters the 70s’ which features a slew of well-informed talking heads and a peek inside an archive at De Montfort University in Leicester, England where Hammer have donated a wealth of material chronicling their history.
DELIRIUM REVIEW: 8/10
Come and celebrate the release of DELIRIUM #5 at Dark Delicacies in Burbank! Meet Lin Shaye, Tom Holland, Tim Sullivan (who will be simultaneously be celebrating the launch of TNT PRESENTS), Barbara Magnolfi, David Gregory, David DeCoteau, writers David Del Valle and Jason Bene and many, many more! Details to follow! Live webcast from the event! Celebs will sign DELIRIUM mags for FREE!
Stay tuned for the FULL guest list!