La maschera del demonio (1960)

User Rating:

7.5/10   

Director:

Mario Bava

Writers:

Nikolai Gogol (short story "The Viy")
Ennio De Concini (screenplay) ...
(more)

Release Date:

15 February 1961 (USA)

Genre:

Horror

Tagline:

STARE INTO THESE EYES... discover deep within them the unspeakable terrifying secret of BLACK SUNDAY... it will paralyze you with fright!

Plot:

A vengeful witch and her fiendish servant return from the grave and begin a bloody campaign to possess...

Plot Keywords:

Witch | Doctor | Hypnotism | Candelabra | Painting

Cast

Barbara Steele	...	Katia Vajda / Princess Asa Vajda
John Richardson	...	Dr. Andre Gorobec
Andrea Checchi	...	Dr. Thomas Kruvajan
Ivo Garrani	...	Prince Vajda
Arturo Dominici	...	Igor Javutich / Javuto
Enrico Olivieri	...	Priince Constantine Vajda
Antonio Pierfederici	...	Priest
Tino Bianchi	...	Ivan
Clara Bindi	...	Inn Keeper
Mario Passante	...	Nikita, the Coachman
Renato Terra	...	Boris
Germana Dominici	...	Sonya, the Innkeeper's Daughter

Directed by
Mario Bava

Writing credits
Nikolai Gogol		(short story "The Viy") (as Nikolaj Gogol)
Ennio De Concini		(screenplay) and
Mario Serandrei		(screenplay)
Mario Bava		uncredited
Marcello Coscia		screenplay

Produced by
Samuel Z. Arkoff	....	executive producer (U.S. version)
Massimo De Rita	....	producer
Lou Rusoff	....	producer (US version)

Original Music by
Les Baxter		(US version)
Roberto Nicolosi

Cinematography by
Mario Bava
Ubaldo Terzano

Film Editing by
Mario Serandrei

Costume Design by
Tina Grani		(as Tina Loriedo Grani)

Second Unit Director or Assistant Director
Vana Caruso	....	assistant director

Art Department
Giorgio Giovannini	....	set designer

Sound Department
Robert Sherwood	....	sound: US version

Special Effects by
Eugenio Bava	....	sculptor: masks and faces (uncredited)
Mario Bava	....	matte paintings (uncredited)
Mario Bava	....	special effects (uncredited)

Camera and Electrical Department
Ubaldo Terzano	....	camera operator

Music Department
Al Simms	....	music coordinator (US version)
Luigi Urbini	....	conductor (as Pier Luigi Urbini)

Other crew
Armando Govoni	....	second production assistant
George Higgins	....	dialogue director (US version)
Flaminia Jandolo	....	voice dubbing: Clara Bindi
Lee Kresel	....	dubbing director (US version)
Bona Magrini	....	script supervisor
Paolo Mercuri	....	first production assistant
Lidia Simoneschi	....	voice dubbing: Barbara Steele (uncredited)

Production Companies

• Alta Vista Productions (US version)
• Galatea Film
• Jolly Film

Distributors

• American International Pictures (AIP) (1961) (USA) (theatrical) (dubbed)
• Astral Films (1961) (Canada) (theatrical) (dubbed)
• Anchor Bay Entertainment (2007) (USA) (DVD)
• Collection Ciné-Club (2001) (France) (DVD)
• Luminous Film & Video Works (video)
• Something Weird Video (SWV) (199?) (USA) (VHS)
• Umbrella Entertainment (2005) (Australia) (DVD)

Also Known As:

Black Sunday (USA)
House of Fright
Mask of the Demon
Revenge of the Vampire (UK)
The Demon's Mask
The Hour When Dracula Comes
The Mask of Satan

Runtime:

87 min | USA:83 min

Country:

Italy

Language:

Italian | English

Color:

Black and White

Aspect Ratio:

1.66 : 1

Sound Mix:

Mono

Certification:

Australia:MA | Australia:M (TV rating) | UK:15 (1986) | UK:(Banned) (1961) | Italy:VM18 | Italy:T (DVD) | Finland:K-18 | Sweden:15 | USA:Unrated

Filming Locations:

Titanus Studios, Rome, Lazio, Italy

Company:

Alta Vista Productions

Trivia:

Based on a Russian folk tale.

Goofs:

Continuity: In the scene where Princess Asa pauses by her father’s coffin, she is wearing black stockings and shoes under her dress. She then leaves the room to look for the others and is seen running down the hall barefoot and without stockings.

Quotes:

Dr. Thomas Kruvajan: More than a thousand years of conflicts, hates and loves - all reduced to dust in these tombs. Nothing remains of the ancient princes of Vieda, but the dead shadows of their former glory. The history of ancient Moldavia is carved in these stones.
Dr. Thomas Kruvajan: Andre! Come here!
[wipes the glass window of a sarcrophagus]
Dr. Thomas Kruvajan: This is the witch of the old legend! See this bronze mask? One was always placed over the face over a condemned witch, so she would wear for all eternity her true face: the face of Satan.
Dr. Andre Gorobec: Why is there a window?
[...]

Movie Connections:

Referenced in Adam Hart i Sahara (1990) (V)

Vintage Bava

BLACK Sunday (Mario Bava - Italy 1960).

Mario Bava's first feature as a director (although he did uncredited directorial work before), this classic and extremely influential piece of Gothic horror really showed his cinematographic talent in creating a haunting and stylishly shot film. "Black Sunday" also catapulted Barbara Steele to horror stardom and would make her into the undisputed horror queen of the sixties. Bava based "Mask of Satan", as the film was originally titled, on the short story "Vij" by the Russian author Gogol, which he adapted into a homage to the early Universal horror pictures he loved so much. Barbara Steele is the beautiful 17th century witch princess Asa, who is a vampire, and her lover Juvato (Arturo Dominici), are put to death by her vengeful brother. He has iron masks with spikes on the inside placed on both their faces and then sledgehammered home (the brutal opening scene). Two hundred years later, blood is accidentally spilled on Asa's face and she rises from the dead along with Juvato to wreak revenge on the descendants of those who executed her - including her look-alike Katia, also played by Barbara Steele.

Beautifully shot in black and white by Bava himself, "Black Sunday" is a perfect showcase of his masterful control of light and shade, of colour and movement (yes, one can play with "shades of colour" in black and white) and playful camera angles, it's a feast for the eye. At heart Bava would always remain the cinematographer he always was and in all his films he took an active role in the design of each image by setting up the lighting, the optical effects, the filters etc. The film abounds in old-fashioned horror atmosphere and in that department, it even manages to top the atmosphere of the Universal horror classics it was based on with gnarled tree branches, fogbound sets, a decaying castle, a dark foreboding crypt and much more.

Of course, Bava's is well known for letting stylistic innovations take precedent over storytelling and most other things involved, like acting. Much of the script was reworked during shooting and even in post-production. Barbara Steele reportedly never even saw a script and got some pages every day of shooting. Variations of the story has been told many times in one way or another and there are more than a few echoes of Murnau's Nosferatu here. Much of the story is too derivative to begin with, and has become too formularised in subsequent years to retain much of its original power, just as the film's capacity to scare or excite audiences has probably worn out a little over the years. It doesn't really matter, because the film was chopped to pieces for over four decades and the habit of Italian filmmakers of post-synchronizing all the voices (even for Italian versions) made anything in that department a pretty dire affair anyway.

What Bava added however was some substantially more explicit violence and gore, laced with sexual connotations. The opening scene in which the mask is sledgehammered to Barbara Steele's face still packs quite a wallop, not to mention the effect it must have had on audiences back then. Still, horror fans can't really afford to miss this quintessential Bava piece, but watch it for the splendid cinematography and Bava's unique ways of visual wizardry.

Camera Obscura --- 7/10