Black Sabbath 4K 1963 Ultra HD 2160p

Story Movie

Three scary stories. A girl returning home from work, hearing a phone call, picks up the receiver and plunges into the abyss of a nightmare. A grave voice promises her an agonizing and quick death, and when she starts rushing around the apartment in terror, it informs her of all her movements, as if it were present nearby.

In the second story, in the Eastern European countryside, an old wurdalak mercilessly massacres his large family.

In the third story, a nurse who steals a ring from a dead old woman will soon regret her sacrilege very much.

Review 4K Movie

When Italian cinema was hit by a crisis in the 80s and 90s, skillfully directed by Berlusconi, the echo of the auteur cinema of Fellini, Ferreri and Zurlini was gradually silenced in the new postmodernist ghetto. But in the ears of the audience, the somewhat forgotten voice of Mario Bava, a real designer and builder of genres, was clearly heard over time. Now, of course, to throw around the name of Tarantino is considered indecent, but once Quentin, whose thickly mixed on borrowings cinema was considered almost the standard of postmodern, hinted that the plot framework of his “Pulp Fiction” he drew from “Three Faces of Fear” Bava. Whether this is true or not, it is no longer possible to establish, but a certain slyness of the Italian Tarantino certainly adopted.

Bava's horror-almanac is generally quite atypical for the 60's. Not only that it is entirely shot by one director, but this collection of short stories, which do not overlap with each other, looks quite vigorous and whole, even after almost forty years. What can't be said about such “Three Faces” brethren as the obvious trinket “Dr. Terror's House of Horrors” or the aesthetic but very uneven “Three Steps in Delirium.” Bava's almanac is formally based on literary sources - the works of Anton Chekhov, Alexei Konstantinovich Tolstoy and Guy de Maupassant. But in fact, only the second novel “The Ghoul” at least somehow correlates with the source material, and the other authors are mentioned only to “weight” the work with solid hyperlinks.

“Three Faces” is Bava's first American experience, marked by his collaboration with a living legend of horror films (Boris Karloff) and his foreign colleagues' misunderstanding of the phenomenon of genre European cinema. There are two versions of the film, and the producers remounted the rental copy so that many of the director's signature features disappeared.

You bet, even if not explicitly pedaled sexploitation of the Italian, reflected in the novel “Telephone”, still overshadows the so-called “Hitchcockian” component in the form of high suspense and the notorious macguffin, which later borrowed the directors of the first slashers. Two lesbian heroines, whose union is broken by a man, look harmonious and attractive on the screen, leaving a large margin for future black moms and wild pussy Russ Meyer, who had just begun to win the hearts of newly minted feminists. The ghouls from the second novel are a tribute to the silent horror cinema of the 30s, where the stars were bright character actors (the same Karloff), and fear was born deep in the human subconscious, trying to deny the existence of paranormal phenomena, while extremely negative against the bearer of the mind. The Witch of the Blob will be well remembered and massively replicated by j-horror creators. After all, horror is inevitable most of all, when you are waiting for the unknown and ready from minute to minute to die only from their own fear.

This delicate matter, which many people wanted to see or examine up close, or even feel, in Bava is very weightless, because it is born from the same as the music of Kraftwerk - the unexpected squeal of the phone, the angry whistle of the wind or the terrifying drip in the bathroom. And that's the ultimate. We are forever bound to fear, Bava sort of says, but with it comes laughter by the hand. It seems like a simple formula, except that no one has been able to replicate it for almost forty years.