Blood and Black Lace (Bava, 1964): Prince Charles Cinema, 8.45pm
Film Frenzy review:
After making a name for himself with a pair of exquisite horror flicks, 1960s gothic-infused gem Black Sunday and 1963’s trippy anthology opus Black Sabbath, Italian filmmaker Mario Bava went off and pretty much invented a new film genre all by himself. Generally considered the second produced giallo but the first in terms of importance and influence — the previous year had seen Bava release The Girl Who Knew Too Much, but that one is often overlooked or dismissed — Blood and Black Lace features many of the components that would largely come to define the genre: laser-like focus on the various murders; a camera that’s constantly on the prowl; dazzling use of light and color; and the employment of an American actor in a central role. Centering on a fashion house steeped in corruption and crime, this opens as one of its models is brutally murdered, a slaying that leads the local police to interrogate the owner (Eva Bartok), the manager (Cameron Mitchell), the other models, and various men involved with the couture culture. As is often the case with giallo entries, story is secondary to style, and that’s particularly true here. But what Blood and Black Lace lacks in narrative, it makes up for it on a visual level, and while there would be better giallo films arriving in later years, the postmark on this one makes it essential viewing.
Matt Brunson
Here (and above) is the trailer.
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