808:(CSC) library in Rome credit Bava, Serandrei, de Concini and Coscia, as well as Dino De Palma. Other papers also credit Fede Arnaud, Domenico Bernabei, Walter Bedogni, Lucia Torelli and Maria Nota. Bava later noted that, "Such was the genius of the screenwriters, myself included, that absolutely nothing remained of Gogol's tale." The references to "Viy" in the resulting film are mostly superficial: the film's characters Andrej Gorobec, Choma Kruvajan, and Javutich are named after the story's characters Gorobets, Khoma Brut, and Yavtukh, while the village of Mirgorod shares its name with the collection Gogol's tale appeared in. A ruined chapel is prominently featured in both works, as is the transformation of a witch into a beautiful young woman; the bronze "Mask of Satan" hammered onto Asa and Javutich's faces is a possible reference to the Viy's iron face and eyelids.
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inn. Meanwhile, Kruvajan's blood brings Asa back to life. She contacts
Javutich telepathically. He rises from his grave and goes to Prince Vajda's castle, where Vajda holds up a crucifix to ward off the reanimated corpse. However, Vajda is so terrified by the visit he becomes paralyzed with fear. Constantine sends a servant to fetch Dr. Kruvajan, but the servant is killed before he can reach the inn. Javutich brings Kruvajan to the castle under the pretext that his services are needed. Javutich leads Kruvajan to Asa's crypt. The witch hypnotizes Kruvajan and says she needs the rest of his blood. Asa then kisses him, turning him into her servant. By Asa's command, Kruvajan follows up on the request to tend to Vajda. He orders the crucifix removed from the room, ostensibly so it will not upset Vajda; this allows Javutich to return later and murder him.
1239:, was translated from the Italian-language script, directed by George Higgins III and recorded in Rome with the English Language Dubbers Association (ELDA). A scene present in early Italian-language prints was deleted from this version of the film. Depicting a conversation between Katia and Prince Vajda, during which her father notices her melancholy behavior and suggests that the family leave the castle, it was originally intended to take place following her first encounter with Andrej and Kruvajan but was dropped due to the power of the Prince's terrified introduction in a later scene in which Katia plays a piano. The sequence was crudely inserted between Sonya's milking of a cow and Javutich's resurrection without Bava or Serandrei's approval.
1315:. Arkoff and Nicholas felt Nicolosi's score was "too Italian" and that American audiences would not like it. Baxter flew to New York City on January 9, 1961, to record the new soundtrack for the film at Titra. Lucas considers the re-score to be a major factor in the success of the American version, noting, "Baxter's score is everything Nicolosi's score is not: boisterous, unsubtle, boldly orchestrated, incessantly busy — musically underlining every footfall, every droplet of dripping blood every smoking undulation of dry ice". Baxter's score incorporates Nicolosi's "Katia's Theme" at several points, although a piano version of the theme representing a piece played by Katia that suggests her mutual feelings for Andrej was re-scored with a
1036:, who portrayed Prince Vajda, was a veteran of earlier films photographed by Bava; the actor reflected that his friend's on-set behavior changed little in his transition to directing full-time "because Mario was already a director. He had proven this in the movies we had made together before, since he always found himself directing and saving other people's movies. So it was just a natural thing to see him in the director's chair at last. But Mario was also very shy; he always tended to undervalue himself. You could never pay him a compliment. He would always say, 'C'mon Ivo, what the hell are you saying? Be serious. But he was unique, and we all knew it".
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1194:, Bava camouflaged the sunlight through dead trees placed in the foreground. When Steele was required to play both Asa and Katia within the same frame, the footage was double-exposed and matted over the jagged edge of Asa's tomb. Other examples of Bava's matte work in the film include an exterior shot of Castle Vajda as a window is illuminated by the moon, and a subjective shot of the pit of spikes over which Andrej and Javutich fight. When Javutich appears to materialize in front of Constantine, Dominici stood off-camera, and his reflection was bounced off a mirror onto a black section of Asa's painting.
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1179:. To create the illusion of Asa's eyes regenerating within the sockets, a section of the character's tomb was built containing a hollow area under the mask, into which tomato soup and rice were used to simulate blood and maggots. These were then substituted with poached eggs, representing the eyes. Eugenio also designed the "Mask of Satan" used in the film. Two versions of each mask were made — one cast in bronze and another being a rubber substitute to be used when worn by the actors. Mario Bava recalled that after the film's release he had received several offers for the mask.
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Constantine uses the last of his strength to pull
Javutich into the pit and push Gorobec to safety. Gorobec finds Asa and Katia. Asa pretends to be Katia and tells Gorobec that Katia is the witch. Accordingly, he goes to kill Katia but notices the crucifix she is wearing has no effect on her. He turns to Asa and opens her robe, revealing a fleshless skeletal frame. The priest then arrives with many torch-carrying villagers, and they burn Asa to death. Katia awakens from her stupor, her life and beauty restored, and is reunited with Gorobec.
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remains confined to the tomb even after draining
Kruvajan's blood — as well as scenes that exhibit Bava's frequent re-working of the material. These include Katia's irascible dismissal of Sonya's claim that Javutich might be alive, her flirtatious invitation to Andrej to stay in the castle, and her seeing Javutich's reflection while undressing. Lucas believes that these scenes suggest that Javutich was originally intended to kidnap Katia soon after his resurrection, leaving Asa to impersonate her descendant.
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1286:. Arkoff spoke about this screening in 1997, saying that because they were viewing the Italian version of the film, an interpreter and Lucisano helped to guide them through the plot. Arkoff found the film to be a "picture of a first class horror and suspense director", and was introduced to Bava after the screening, congratulating him. AIP acquired the film for approximately $ 100,000, recovering its production budget.
1800:(1963), later reflecting that, "It was very difficult for me, doing all those horror films at that particular period of my life. The difficult thing is that most directors demand excess in acting. They want a very expressive reaction at all times, which is fine for one take but, put together as a whole, looks a little overboard all the time it's hard for a woman to do that." Steele later said that
498:, Asa Vajda, a vampiric witch, and her paramour, Javutich, are sentenced to death for sorcery by Asa's brother Griabi. Asa vows revenge and puts a curse on Griabi's descendants. Bronze masks with sharp spikes on the inside are placed over Asa and Javutich's faces and hammered into their flesh, but a sudden storm prevents the villagers from burning them at the stake.
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750:'s daughter who would take the form of a witch by night to harass a philosopher, who eventually beat her to death. The undead witch then called upon the Viy to scare the philosopher's soul from his body. Upon the story's end, it is revealed that the couple are reincarnations of the philosopher and the witch, who declares that she will haunt him forever.
1303:!". AIP removed or shortened the more violent and sexual scenes in the film, including the hammering of the "Mask of Satan" onto Asa's face, the scene in which she kisses Kruvajan to drain his blood, and the priest's staking of Kruvajan's eye. Arkoff reasoned that, "All of AIP's films were very clean, so anything that was suggestive of playing around -
422:. The film found greater success upon its American release in 1961 when it became the highest-grossing film to be released by AIP in its first five years of existence. The film was banned for several years in the United Kingdom and did not receive a wide release there until July 1968, when it was released by Border Films as
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praised the film as the "crowning achievement of
Italian gothic horror" where "narrative and characterization (perfunctory at best here) take second place to the magnificent atmospheric visuals", noting that "unlike many of the Italian gothic chillers that followed, some sequences here are genuinely
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and conduced by Pier Luigi Urbini. Lucas notes that both versions used the score sparingly, leaving the creation of much of the soundscape to the sound editor, although key dramatic scenes, such as the climactic fight between Andrej and
Javutich, play with no music at all, suggesting the difficulties
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Eugenio Bava developed several of the practical effects used in the film. These included an articulated wax head with a mechanized interior, used to represent Prince Vajda's head as it is being burned in a fireplace, and a foam latex mask of Asa's face, which he made based on photos of Steele without
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to expand the scope of his films beyond their narrative and budgetary constraints; in this case, the death of another of Asa's lookalike descendants, Masha, is used to highlight the power Asa continues to hold over the family even prior to her resurrection. As storyboarded, the hammering of the "Mask
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was the actual director of photography, and insisted he had lit the sets "so perfectly that Bava seldom had to correct him". Lucas concurs on this point, noting that while Bava would provide storyboards and occasionally adjust lights and lenses, Terzano was largely in control of which takes would be
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Govoni recalled the shoot to be a "very tiring" experience characterized by long work hours. Lucas believes that this was partially the result of the film entering production prematurely, without a thorough revision of the script or consideration for certain filming logistics, prompting Bava to rely
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was "One of Bava's best films, with a fluid visual style and a narrative grip that only weakens towards the end. Some chilling moments of both beauty and terror, he has never surpassed." In his view, the
English version of the film was "devastated" by the dubbing, and felt the sound belonged, "not
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that made its subjects appear nude. Critic and editor Martyn
Conterio considers many of Steele's recollections of the film's production to be unreliable. This includes her claim that the film was shot in winter, and that everyone on set had worn black and white costumes, neither of which are true.
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lasted approximately six weeks — an average schedule for a
Galatea production, but longer than the three to four weeks normally allotted to Italian films of the time — beginning on March 28, 1960, and ending on May 7. Meanwhile, film historian and critic Roberto Curti has stated that shooting
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Asa's plan is to revive herself by draining Katia of her life since Katia is physically Asa reincarnated. Puzzled to hear that
Kruvajan abandoned his patient shortly before he died, Gorobec questions Sonya, a young girl who saw Javutich take Kruvajan to the castle. She identifies Kruvajan's escort
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This occurred during the shooting of the scene in which
Javutich is willed to life by Asa and rises from his grave; the crew was not aware of Dominici's disposition until he failed to surface on cue. After saving him from possible suffocation, Bava restaged the shot to ensure Dominici's safety by
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a corpse, you know what I'm saying? - we wouldn't stand for it." A dialogue exchange between Katia and Andrej that serves to develop their romantic relationship, as well as a climactic exchange between Andrej and the priest in which the former melodramatically laments Katia's apparent death, were
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Throughout the shoot, Steele proved to be difficult to work with; Govoni later described her as a "strange, neurotic person" and Bava proclaimed that "Steele was half-crazy, afraid of Italians." The actress frequently missed her call times or refused to arrive on-set due to misunderstandings: one
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Returning outside, Kruvajan and Gorobec meet Katia Vajda. She tells them she lives with her father and brother Constantine in a nearby castle that the villagers believe is haunted. Struck by her haunting beauty and sadness, Gorobec becomes smitten with Katia. The two men leave her and drive to an
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in New York City, which was directed by Lee Kresel and edited by Salvatore Billitteri. In contrast to the embellishments of the ELDA version, Titra's dubbing was largely faithful to the cast's spoken dialogue, although some phrases were softened, such as Asa's line "You too can find the joy and
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indicates that his responsibilities went beyond cutting scenes together and that he helped Bava correct narrative flaws in post-production. Serandrei's assembly still contains a notable structural flaw — that Asa appears to be powerful enough to destroy her tomb and return Javutich to life, yet
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Two centuries later, Dr. Choma Kruvajan and his assistant, Dr. Andrej Gorobec, are traveling through Moldavia en route to a medical conference when one wheel on their carriage breaks. While waiting for their coachman to fix it, the two wander into a nearby ancient crypt and discover Asa's tomb.
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The completeness of the film's shooting script is unclear: while Govoni claimed to have read a complete, Italian-language draft of the script prior to its English translation, Steele has stated that the actors were not given their script pages until prior to shooting a scene, furthering Lucas'
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Javutich throws Constantine into a death pit and takes Katia to Asa. Asa drains Katia of her youth. When the witch goes to take her blood, the crucifix around Katia's neck thwarts her. Gorobec enters the crypt to save Katia, but Javutich attacks him and pushes him to the edge of the death pit.
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which do not appear in the final film: Bava recalled that he eventually asked the actors to discard them due to their clichéd appearance, while Govoni stated that the fangs were kept during the shoot, but "Serandrei cut around them" during editing. Most of the cast delivered their dialogue in
765:, to help the director turn the concept into a workable screenplay. Many of the film's themes bear similarity to de Concini's sword-and-sandal films, including the tarnishing of holy places, the collapse of a decadent sovereign entity, and the casting of one actress in dual roles symbolizing
1093:. Despite the film being shot in black and white, Bava permitted numerous production and publicity stills to be photographed in color; these stills are representative of the lighting choices Bava and his crew made for the film, and were not arranged to accommodate the still photographer.
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gave the film a four and a half star rating out of five, opining that with it, Bava created "a visual feast of the strange and forbidden that unleashes an adolescent-like interest in the unreal world" that was "easily among the most influential films of the Italian Gothic horror era".
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grossed $ 14,750 in its first week at the Allen Theatre, which topped AIP's previous record holders by 35%. The film also performed well in San Francisco and Salt Lake City, making it AIP's highest-grossing film in its five-year history, and generated domestic rentals of $ 706,000.
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Observing her death mask through a glass panel, Kruvajan breaks the panel (and the cross above it) by accident while striking a bat. He removes Asa's death mask, revealing a partially preserved corpse. He cuts his hand on the broken glass, and some of his blood drips onto Asa.
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chieftain with a face made of iron and eyes that are capable of penetrating spiritual barriers, which are covered by heavy eyelids that droop to the ground. Bava frequently read this story to his children before their bedtime. His first outline of the film, a four-page
707:, but Bava insisted on shooting in black and white; he justified this as both a stylistic and practical choice, as the makeup transformation sequences required special red and green lights that would have made them impossible to film with color. The shooting budget of
1633:(1986) that the film was, "A supremely atmospheric horror film" and was Bava's "first and best directorial job, and the first of the 1960s cycle of Italian Gothic cinema remains greatest achievement, without a doubt one of the best horror films ever made."
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praised the film as the "crowning achievement of Italian gothic horror". The film is now considered to be a pioneering work that set the standards for Italian horror films due to its juxtaposition of beautiful and horrific elements, with strong depictions of
685:; De Rita claims that he was responsible for persuading Santi to allow Bava to make a film of his own and that he also begged Santi to increase the film's budget compared to what he felt would allow the film to turn a profit. Due to the recent success of
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was applied around her eyes and on her cheeks to make them appear sullen. These were made to initially appear invisible under red lighting, but became more prominent as green lights were gradually raised in their place. The explosion of Asa's tomb was a
746:, is dated September 1, 1959 and closely follows Gogol's original story. Transposing the story to the present day, it tells the story of a young, married couple who come across a derelict church and encounter an old man who tells them the story of a
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as he was pulled along by another, makeshift dolly. A later scene where Katia and Constantine look over their dead father's face employs a 180° pivot which was accomplished using a specially-customized camera with modifications by Bava's father,
861:, as well as Kruvajan being staked through the eye; it also features a circularity in its choice of first and last images, as both are of flames that are to be used to put Asa to death. Drawing on both of the films that he had co-directed with
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Steele admitted to her misbehavior during the film's shoot later in life and noted that towards the end of the shoot, she and Richardson were prone to nervous fits of laughter due to the stress they had accumulated over the course of filming.
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hypothesis that much of the film was improvised or frequently rewritten throughout filming. Curti has noted that a complete, English-translated copy of the script was among the documents related to the film to be archived at the CSC library.
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in 2005. The score was later released as a limited edition LP record (500 copies) by Spikerot Records on July 5, 2019. A suite from Baxter's score were first made commercially available on a 1980s Bax Records LP of his score for
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waltz. I certainly didn't want them to tear open my dress and expose my breasts, so they got a double that I didn't like at all, so I ended up doing it anyway — drunk, barely over 18, embarrassed and not very easy to be around.
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also cut, as AIP believed that the juvenile audiences it was targeting would react negatively to these scenes. AIP's editing reduced the film's runtime to 83 minutes, compared to the 87 minute runtime of most Italian prints.
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For the film's release in the United States, AIP re-edited scenes, re-dubbed the soundtrack, and changed several of the characters' names. Arkoff deemed the ELDA version of the film to be "technically unacceptable", and had
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cinematography, expressionistic set design and art direction and the grotesquely appealing makeup lend the film a distinct atmosphere; this is cinema at its most grandiose and rich, brimful of high-flown imagery."
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found the film gruesome, but proclaimed that "whether this is reprehensible is a personal reaction, but there can be no argument on the general effectiveness of special effects and photography." A review in
1804:"was probably the best of that genre of film I've made, but I don't feel it was the best for me as an actress. Frame by frame, it looks so beautiful ... but anybody could have been playing that girl."
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that play over scenes that originally lacked music. While noting that Leone created this version in the best interests of preserving Bava's work, Lucas has lambasted it as a "cacophonous, tone-deaf mess".
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with a painting of Javutich. A priest and Gorobec go to Javutich's grave and find Kruvajan's body inside the coffin. Realizing he is now one of the undead, they kill him by driving a nail through his eye.
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filming his hand scrabbling over a mound of earth at a low angle. While working on the restaging, Bava amused the crew by demonstrating a variety of comical ways in which the shot could have played out.
1166:, which included a rear system of radiating handlebars capable of spinning the camera on its axis. Its movement was so imperceptible that Garrani believed that the pivot was achieved through editing.
1786:; they rejected the offer. When asked about this in 2002, Steele said the invite never reached her, but she would have been very happy to accept it. Steele would appear in more comedies and European
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Lord alone knows I was difficult enough. I didn't like my fangs — I had them changed three times. I loathed my wig — I changed that four times. I couldn't understand Italian. I didn't want to play a
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English, with the exception of Checchi and the Dominicis; Govoni recalled that while the translation of the original Italian text the cast was given to work with was crude, they mostly stuck to it.
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related to eyes and sight, as well as the impairment of both, such as the subjective shot of Asa looking at the spikes of the "Mask of Satan" as it is brought towards her, Andrej falling for Katia
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The film continues to have a popular fan base among horror fans and filmmakers, and placed in a 1996 poll of the Top 25 Favourite Horror Films of All Time conducted by the British fan magazine
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According to producer Massimo De Rita, an oft-repeated story suggesting that Santi approached Bava to make a film based on a story of his own choosing after being impressed with his work on
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instance of the former resulted in Arturo Dominici fainting under his costume while the crew waited for her arrival, prompting the actor to angrily tell Bava, "Who does she think she is?
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with her face punctured akin to Asa. Burton had singled out Bava as a major influence on his work, saying that "One of the movies that remain with me probably stronger than anything is
414:(AIP), who oversaw numerous alterations to the film prior to its American release, including the removal of some scenes of violence and sexuality, redubbing the dialogue, and replacing
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praised the film for the extreme mobility of its camera movements, and the way Bava's visual style created a fantastical and poetic dimension; he declared Bava to be an immediate film
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in October 2002. This version, copyrighted in 2000, was supervised by Bava associate Alfredo Leone of International Media Films as a means of preventing the film from falling into the
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980:, Richardson's Rank contract was similarly sold to Fox and he had come to Italy searching for film work; by this time, both he and Steele were represented by the same agent from
783:, de Concini "was far better at improvising stories, live, in front of producers, then writing them down"; this, coupled with his highly prolific resume, has led Bava biographer
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from the film, during which he developed the film's visual style based on his earlier works as cinematographer and co-director. Lucas notes that the film features a recurring
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of British actors under contract at Fox, selected Steele from these photos. Steele, however, recalled that Bava tracked her down after being captivated by photos of her in a
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s script "is so stuffed with witches, vampires, skeletons, ghosts, with its complement of murders and dead bodies, that looks like a children's show when compared to it."
1493:(1963); this was later edited to form the basis of a separate soundtrack CD first released by Bay Cities in 1992, which was reissued in 1998 alongside Baxter's score for
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Most of the scenes depicting horse carriage rides were shot at Scalera. Due to the small size of the sound stage being used, forests were suggested by filming with glass
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of Satan" was originally supposed to include a shot of the nails of the mask piercing through the wood of the stake Asa is tied to, amplifying the violence of the scene.
384:. After he developed a four-page outline faithfully based on Gogol's story, several other screenwriters, both credited and uncredited, worked on the script. Former
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The film received generally negative reviews in Italy and garnered positive reviews abroad in France and the United States, where it received favorable notices in
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films, American distributors were willing to pay in advance for genre films from Italy, even if they were not popular there. Aside from working on both of the
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began in June, and ran for seven weeks. Most of the film was shot at the studios of Scalera Film, with exteriors and some interiors shot at Castle Massimo in
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is unknown. De Rita remembers it being between $ 50,000 and $ 60,000, while production manager Armando Govoni recalled the final budget was around $ 100,000.
1278:(AIP) had been buying the American distribution rights to Italian films since 1959. In 1960, the two were invited to Rome by their Italian talent agent,
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reviewed the film in 2013, concluding that, "Italian horror cinema is known for its intense atmosphere, extravagant visual style and gory scenes, and
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733:. The story concerns a group of students' encounter with an old witch capable of transforming into a beautiful woman, whose death summons the Viy, a
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1518:; it features new, red-colored credit titles in place of the original credits, a newly-recorded opening narration, and cues from Baxter's score for
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painted with black streaks and augmented with pieces of dead wood and foregrounded bracken. Smoke was filtered through the studio to disguise a
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in one of the few occasions of his directorial career. In a scene in which Javutich appears to float towards Prince Vajda, Dominici was shot in
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proclaimed that "There is sufficient cinematography ingenuity and production flair to keep an audience pleasantly unnerved." Eugene Archer of
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focused on combining eroticism and horror, specifically the eroticism of a tortured body — a trend that other European horror filmmakers like
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in 1991. The Italian owners of the film released it in Japan through Toshiba Video and in the United Kingdom through Redemption Video on VHS.
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declared the film to be "a piece of fine Italian handiwork that atones for its ludicrous lapses with brilliant intuitions of the spectral."
1437:, a censored version of the ELDA dub, which was released by Border Films. The film was not released uncut in the United Kingdom until 1992.
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in color; the project never materialized. "Viy" would be adapted for screen again in 1967 with Konstantin Yershow and Georgi Kropachoyov's
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from its domestic release. While Curti has described this financial performance as "rather limited", the film quickly turned Steele into a
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on his instincts and improvise; this is evident in Asa and Javutich being variously described or portrayed throughout the film as witches,
1930:, by contrast, depicted violence without suggestion. This level of violence would later be seen in other Italian genre films, such as the
839:). The Ministerial Commission of Revision, through which all Italian film scripts were required to be submitted for review, remarked that
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marked an increase in onscreen violence in film. Prior to Bava's film, Fisher's early Hammer films had attempted to push the envelope;
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released it on VHS and DVD for the first time in the United States in 1999. Both the Italian/ELDA and AIP versions were released on
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that more closely follows Steele's hand movements on the instrument. He also adapted "Katia's Theme" for the title song of his 1961
791:, he did little of the actual scripting, which Lucas attributes to Marcello Coscia, who co-wrote Bava's early science fiction film
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was the "best of work" while his later work "rejected chiaroscuro in favor of lush Technicolor and developed the directorial of
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also praised the film; Steele was featured on the cover of the magazine's July 1961 issue. On its release in the United Kingdom,
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contract players Steele and Richardson were cast as Bava felt that British leads would allow the film to compare favorably to
366:(1959), Bava was permitted by the company's president, Lionello Santi, to make a film for foreign markets; he chose to make a
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956:. There are two accounts describing how Steele came to be cast in the film: one suggests that Bava, while perusing through
674:(1959). This led to Galatea's president, Lionello Santi, offering him the opportunity to make a film for foreign markets.
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From the late 1950s to the early 1960s, the Italy-based production company Galatea was among the most active producers of
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Under license from music publisher Creazioni Artistiche Musicali, Nicolosi's score was released, alongside his music for
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of creating music for a film in a genre that was in its infancy in Italy. He deems much of the score to be derivative of
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had limited financial success upon its initial Italian release. It was acquired for distribution in the United States by
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polled authors, directors, actors and critics who had worked in the horror genre to vote for their top horror films;
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642:(1959), which were both successful at the American box office. The company made films in other genres, such as the
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Return of the B Science Fiction and Horror Movie Makers: Writers, Producers, Directors, Actors, Moguls and Makeup
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dismissed the film, declaring it "nonsense" and suggesting that was filmed with "no restraint". In his 1967 book
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In the United States reviews reflected on the plot, as well as the film's cinematography. Dorothy Masters of the
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strike in March 1960 left her free to pursue her own interests, she traveled to Italy, leading to her casting in
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relationship between himself and Asa. The dialogue of the English versions refer to him as her "servant" or "
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The scene in which Asa touches Katia and drains her youth reprised an effect Bava had previously employed on
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who is put to death by her brother, only to return two centuries later to seek revenge upon his descendants.
396:; shooting was complicated by Bava's frequent reworking of the script and Steele's conflicts with the crew.
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in Italy, and led to her appearing in several horror film productions throughout the 1960s and 1970s.
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This article is about the 1960 horror film directed by Mario Bava. For the 1963 Mario Bava film, see
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s opening scene was referenced in multiple horror films throughout the 1960s and beyond, including
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was released, producers began asking his father for more genre films. In the late 1960s, producer
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of the ten greatest horror films made before 1970, where it tied for number seven with Fisher's
1227:
Because Serandrei rarely worked as a writer, Lucas has suggested that his screenplay credit for
4188:
4044:
4037:
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3493:
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into mannered tricks such as gratuitous abrupt cuts and an unrestrained use of the zoom lens".
1573:
just to a different film, but to a different world from the near-hysterical images on screen".
1129:?". An example of the latter was due to her belief in a rumor that Bava had invented a special
989:
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needed a British cast to convince the audience that they would be watching a film as strong as
1507:'s archives, was released in May 2011 by Kritzerland in a limited edition run of 1000 copies.
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Although Bava is credited as the film's cinematographer, Govoni stated that camera operator
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1942:
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described as an "Italian horror icon", appearing in several horror films, such as Corman's
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966:
magazine photoshoot. Bava later commented that Steele "had the perfect face for my films".
916:
632:
583:
344:
17:
3559:
1542:
1510:
A unique variant of the ELDA cut of the film was aired as part of a Bava retrospective on
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on August 11, 1960, where it was distributed by Unidis. The film grossed 139 million
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8:
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is the film that first pioneered this approach." He also noted the "beautifully composed
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and graphic violence. These elements would be found in later Italian genres, such as the
459:
437:
376:
283:
904:
was cast in the dual role of Asa and Katia Vajda. She had appeared in several films for
4121:
4114:
4002:
3654:
Faster and Furiouser: The Revised and Fattened Fable of American International Pictures
3369:
1910:
1669:
1597:
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981:
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354:(1959) for the production company Galatea and helping finish two of their other films,
350:
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4128:
3787:
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was cast as Katia's love interest Andrej. A colleague of Steele who had appeared in
4072:
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3405:
1991:
Contemporary Italian press materials describe Javutich as "fratello della strega" (
1905:
1877:
1791:
1722:
1651:
1267:
1247:
1214:; pieces of the lid were pulled away by fine wires to reveal a doll of Asa inside.
1211:
999:
927:
754:
627:
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415:
403:
274:
167:
56:
753:
Santi deemed Bava's treatment unsatisfactory and hired Galatea's top screenwriter
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643:
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1967:
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was initially banned in the United Kingdom, receiving a single screening at the
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1608:
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1399:
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An English-dubbed version of the film created for international export, titled
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652:(1959), which enjoyed less financial success. Following the success of the two
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312:
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121:
1780:(1963). Bava asked Steele, through her agents, to portray Nevenka in his film
4211:
3803:
3641:
Masters, Dorothy (February 15, 1961). "Albee Has Shocker in 'Black Sunday'".
1951:
1838:
1714:
1709:
led to her being cast in several horror films throughout the 1960s and 1970s.
1515:
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1355:
1299:
happiness in Hades!" which became "You too can find the joy and happiness in
1295:
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to believe that while de Concini contributed many ideas to what would become
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324:
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945:
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780:
598:
577:
292:
259:
3091:
1540:, although some noted its cinematography. In France, Fereydoun Hoveida of
1402:
with films from smaller independent companies, such as the British comedy
1374:
Before its release in the United States, AIP considered renaming the film
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1963:
1955:
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367:
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94:
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and/or vampires. Steele and Dominici were initially outfitted with prop
4135:
3973:
3902:
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1999:
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in Cleveland, Ohio, on February 3, 1961. In its initial release,
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within Italy. Its popularity influenced other Italian films, such as
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1004:
988:, who had previously worked in various Italian productions including
957:
867:
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469:
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3241:
1787:
1675:
1638:
1176:
1158:
1113:
930:. Steele seldom worked in the United States: she was cast opposite
495:
332:
2079:"Black Sunday by Giuliano Nistri (American International, c.1996)"
1458:
1320:
1259:, but singles out the romantic "Katia's Theme" motif for praise.
3442:
Clarke, Cath; Calhoun, Dave; Huddleston, Tom (August 19, 2015).
3365:"The Screen: Horrors!:' Black Sunday,' From Italy, Has Premiere"
1751:, but an adaptation of Gogol's story in a contemporary setting.
1936:
1548:
1090:
1062:
1052:
944:
led to her being replaced during the first week of shooting by
800:
The film's credits list only de Concini and the film's editor,
478:
393:
1904:(1959) was conveyed mostly through narration. The violence in
1536:
Curti stated that contemporary Italian film critics "ravaged"
1433:
in 1961. It did not receive a wide release until June 1968 as
811:
During the scripting phase, the film's title was changed from
3942:
3062:"La Maschera Del Demonio / Black Sunday • Preorders Are Open"
1499:(1972). A CD of the full score, remastered from the original
1316:
1104:
734:
664:
had partially directed other films without credit, including
3286:
3217:
1796:
1445:
The first official home video release of the AIP version of
3513:"Black Sunday (US Blu-Ray Review [A.I.P. Version])"
2003:
1604:
The Illustrated History of Horror and Science-Fiction Films
1117:
3424:
An Illustrated History of Horror and Science-Fiction Films
998:(1953). Checci later appeared in two other films in 1960:
3171:
3169:
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3142:
3140:
2864:
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2472:
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2414:
1145:
The final week of the shooting schedule was reserved for
819:
to capitalize on the success of two other horror films —
3328:
3229:
3018:
2940:
2903:
2901:
2230:
1739:
by Djordje Kadijevic. In 1989, Lamberto Bava directed a
804:, as the screenwriters; official papers archived at the
3708:
The Penguin Encyclopedia of Horror and the Supernatural
3441:
3318:
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2401:
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2349:
2297:
2295:
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2220:
2218:
1890:
relied on make-up to depict the horror of the monster,
1630:
The Penguin Encyclopedia of Horror and the Supernatural
1465:
in 2012 and 2015, respectively. In the United Kingdom,
1363:
plays an impressionable horror fan who is terrified of
3274:
3193:
3164:
3137:
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1627:
In a retrospective review, Timothy Sullivan wrote in
1075:
on her on-set behavior during the shooting of the film
699:, Bava decided to make a horror film. To compete with
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2913:
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2179:
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1673:. It appeared in a reader's choice poll conducted by
1367:. In France, the film was released that same year as
3557:
Hoveida, Fereydoun (1961). "Les grimaces du démon".
3403:
Blackford, James (April 2013). "Satanic Majesties".
3313:
3298:
3253:
3106:
2952:
2925:
2874:
2830:
2786:
2771:
2734:
2722:
2683:
2659:
2647:
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2482:
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2322:
2290:
2266:
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1469:
released both cuts alongside the Italian version of
3152:
3006:
2975:
2623:
2552:
2373:
2307:
2191:
2129:
2117:
2098:
1918:, was portrayed through suggestion, as its famous "
288:'The mask of the demon') is a 1960 Italian
3181:
2154:
2040:
1482:(1963), on CD in the first volume of Digitmovies'
1337:After being passed uncut by the Board of Censors,
457:remains positive: it was placed at number 84 on a
1552:with "the soul of a painter". Jean-Paul Torok of
1262:
1103:in a promotional photograph as Javutich, wearing
4209:
3802:
3064:. Spikerot Records. May 30, 2019. Archived from
1311:Nicolosi's score was replaced with a new one by
1201:. Wrinkles were drawn on Steele's face with red
3205:
1914:(1960), which was released a week earlier than
1858:most prominently used imagery from the film in
1242:The music for the Italian and ELDA versions of
3589:
3292:
3223:
1880:'s "Monsterfest" celebration in October 1998.
926:(both 1959), before Rank sold her contract to
630:phenomenon of the time with their productions
3958:
3788:
714:
1440:
1169:
463:poll of the best horror films, while critic
3674:
3036:
3965:
3951:
3795:
3781:
1693:was listed at number 84 on their top 100.
1022:, who previously appeared as Eurysteus in
727:", first published in the 1835 collection
36:
3619:
3402:
3235:
3024:
3000:
1876:." Burton introduced the film as part of
1484:Mario Bava Original Soundtracks Anthology
3701:
3620:Marsiglia, Jason S. (October 24, 2012).
3468:
3280:
3199:
3146:
2919:
2868:
2824:
2812:
2641:
2605:
2476:
2444:
2420:
2185:
1700:
1095:
1051:was shot partially at Castle Massimo in
1043:
3640:
3573:Mario Bava - All the Colors of the Dark
3556:
3510:
3417:
3175:
3158:
3131:
3012:
1898:, and the violence in the backstory of
1696:
524:Mario Bava - All the Colors of the Dark
370:to capitalize on the recent success of
4210:
3724:
3490:Italian Gothic Horror Films, 1957–1969
3389:
3362:
3187:
2946:
1341:was theatrically released in Italy as
703:, Santi wanted the film to be shot in
595:Mario Passante as Nikita, the Coachman
528:Italian Gothic Horror Films, 1957-1969
3946:
3776:
3651:
3624:. Diabolique Magazine. Archived from
3599:The Definitive Guide to Horror Movies
3567:
3515:. Diabolique Magazine. Archived from
3487:
3444:"The 100 best horror films: the list"
3346:
3334:
3322:
3307:
3268:
3248:Clarke, Calhoun & Huddleston 2015
3119:
3048:
2988:
2969:
2934:
2907:
2892:
2880:
2853:
2841:
2795:
2780:
2765:
2753:
2728:
2716:
2704:
2677:
2665:
2653:
2629:
2617:
2593:
2581:
2569:
2546:
2534:
2515:
2500:
2488:
2461:
2432:
2405:
2390:
2367:
2355:
2340:
2328:
2316:
2301:
2284:
2272:
2260:
2248:
2236:
2224:
2209:
2197:
2173:
2148:
2123:
2111:
2065:
984:. Among the Italian cast members was
806:Centro Sperimentale di Cinematografia
323:and Enrico Oliveri. Loosely based on
1705:Barbara Steele in 1965. Her role in
1531:
1222:
574:Enrico Olivieri as Constantine Vajda
546:(Dr. Andreas Gorobec in the AIP dub)
3677:"This week's new DVD & Blu-ray"
3675:O'Neill, Phelim (2 February 2013).
3531:
3211:
1992:
1864:(1999), such as in the scene where
1153:, for which Bava was able to use a
13:
3511:Deighan, Samm (February 9, 2015).
1217:
940:, but a falling-out with director
719:Bava chose to base his project on
607:as Sonya, the Innkeeper's Daughter
342:Having provided cinematography on
14:
4329:
4233:Italian supernatural horror films
3744:
1894:had its gorier scenes cut by the
1294:produce a new English version at
757:, who had co-written both of the
3575:(2nd ed.). Video Watchdog.
3363:Archer, Eugene (March 9, 1961).
1622:
1390:. AIP premiered the film at the
482:. The film turned Steele into a
4066:Dr. Goldfoot and the Girl Bombs
3622:"Black Sunday (Blu-Ray Review)"
3080:
3054:
2019:
2009:
1276:American International Pictures
1015:The Thousand Eyes of Dr. Mabuse
879:to develop his frequent use of
601:as Boris, the Vajdas' Stableman
580:as Ivan, the Vajdas' Manservant
412:American International Pictures
4168:Caltiki – The Immortal Monster
4094:Roy Colt & Winchester Jack
3972:
2071:
1985:
1371:by Comptoir Français du Film.
1263:AIP acquisition and re-editing
1107:that are not seen in the film.
666:Caltiki – The Immortal Monster
649:Caltiki – The Immortal Monster
617:
357:Caltiki – The Immortal Monster
1:
4258:Films set in the 19th century
4228:Italian black-and-white films
4080:Five Dolls for an August Moon
3996:Hercules in the Haunted World
3090:. Kritzerland. Archived from
1973:
1901:The Hound of the Baskervilles
1896:British Board of Film Censors
1473:on a single Blu-ray in 2013.
825:(1953) (released in Italy as
612:
453:. Retrospective reception of
418:'s musical score with one by
4298:1960 directorial debut films
4278:Films directed by Mario Bava
3409:. Vol. 23, no. 4.
2033:
1649:creepy". James Blackford of
1526:
7:
4288:Italian films about revenge
4283:Films about the Inquisition
3729:. McFarland & Company.
3652:McGee, Mark Thomas (1996).
3224:Marriott, Newman & 2018
3088:"Black Sunday - Les Baxter"
1996: brother of the witch
1758:, Steele would become what
1747:; this was not a remake of
1503:session tapes sourced from
837:La maschera di Frankenstein
331:", the film takes place in
10:
4334:
4273:Films based on Viy (story)
4010:The Girl Who Knew Too Much
3702:Sullivan, Timothy (1986).
3356:
3293:Marriott & Newman 2018
1725:approached Bava to remake
1479:The Girl Who Knew Too Much
1415:The Little Shop of Horrors
1332:
1039:
887:
715:Writing and pre-production
15:
4145:
4087:Hatchet for the Honeymoon
3980:
3921:
3886:
3859:
3816:
3563:(in French). p. 119.
3469:Conterio, Martyn (2015).
1888:The Curse of Frankenstein
1771:The Horrible Dr. Hichcock
1754:Following the release of
1441:Home media and television
1170:Props and special effects
995:The Lady Without Camelias
832:The Curse of Frankenstein
626:. They had initiated the
335:and tells the story of a
255:
247:
239:
229:
205:
197:
183:
173:
163:
153:
114:
106:
89:
81:
71:
67:
55:
51:
35:
30:
4161:The Day the Sky Exploded
1978:
1765:The Pit and the Pendulum
1461:in the United States by
794:The Day the Sky Exploded
538:as Asa Vajda/Katia Vajda
214:11 August 1960
3911:Gogol. Terrible Revenge
3868:Viy 2: Journey to China
3658:McFarland & Company
3488:Curti, Roberto (2015).
1940:, including Bava's own
1851:The Haunting of Morella
1745:La maschera del demonio
1343:La maschera del demonio
982:William Morris Endeavor
923:Upstairs and Downstairs
817:La maschera del demonio
697:Hammer Film Productions
660:films, cinematographer
517:
489:
382:Hammer Film Productions
279:La maschera del demonio
62:La maschera del demonio
4318:Religious horror films
4253:Films set in the 1630s
4248:Films about witchcraft
4189:The Wonders of Aladdin
4045:Planet of the Vampires
4038:The Road to Fort Alamo
3876:Viy 3: Travel to India
3411:British Film Institute
1710:
1435:Revenge of the Vampire
1108:
1068:
1056:
990:Michelangelo Antonioni
769:, as was the case for
553:as Dr. Choma Kruvajan
544:as Dr. Andrej Gorobec
424:Revenge of the Vampire
278:
4238:Italian vampire films
4175:The Giant of Marathon
4101:Four Times That Night
4052:Knives of the Avenger
4024:The Whip and the Body
3534:"Black Sunday (1960)"
3473:. Auteur Publishing.
3390:Bailey, Matt (2013).
1783:The Whip and the Body
1735:and later in 1990 as
1704:
1565:Monthly Film Bulletin
1431:National Film Theatre
1386:, before settling on
1099:
1082:principal photography
1059:
1047:
906:The Rank Organisation
779:(1954). According to
763:The Giant of Marathon
679:The Giant of Marathon
671:The Giant of Marathon
555:(Dr. Thomas Kruvajan)
522:Credits adapted from
363:The Giant of Marathon
4313:Films about Satanism
4268:Films set in Moldova
4263:Films set in Romania
4031:Blood and Black Lace
3895:Gogol. The Beginning
3725:Weaver, Tom (1999).
3544:on December 21, 2012
1943:Blood and Black Lace
1833:Bloody Pit of Horror
1811:"-themed imagery of
1697:Legacy and influence
1080:According to Lucas,
849:Bava drew extensive
584:Antonio Pierfederici
18:Black Sabbath (film)
4308:1960s Italian films
4293:Period horror films
4243:Gothic horror films
4182:Esther and the King
4146:Collaborative works
3644:New York Daily News
3519:on November 8, 2020
3337:, pp. 326–327.
2239:, pp. 295–296.
1827:Terror in the Crypt
1741:made-for-television
1717:recalls that after
1579:New York Daily News
1455:Image Entertainment
1369:Les masque du démon
950:Screen Actors Guild
827:La maschera di cera
438:New York Daily News
4122:Lisa and the Devil
4003:Erik the Conqueror
3689:on 22 October 2015
3532:Gilliam, Richard.
3370:The New York Times
3068:on January 7, 2021
1711:
1598:The New York Times
1272:James H. Nicholson
1109:
1057:
978:Bachelor of Hearts
911:Bachelor of Hearts
639:Hercules Unchained
408:James H. Nicholson
351:Hercules Unchained
192:Galatea-Jolly Film
46:by Giuliano Nistri
4223:1960 horror films
4205:
4204:
3940:
3939:
3628:on April 10, 2015
3582:978-0-9633756-1-2
3560:Cahiers du Cinéma
3503:978-1-4766-1989-7
3480:978-1-906733-83-4
3427:. Da Capo Press.
3406:Sight & Sound
2949:, p. 387–90.
2895:, pp. 314–5.
2768:, pp. 310–1.
2263:, pp. 40–41.
2084:Heritage Auctions
1998:), suggesting an
1932:Spaghetti Western
1743:film also titled
1652:Sight & Sound
1543:Cahiers du Cinéma
1532:Initial reception
1326:Jewels of the Sea
1237:The Mask of Satan
1223:Editing and score
1175:having to make a
568:as Igor Javutich
474:Spaghetti Western
432:Cahiers du Cinéma
386:Rank Organisation
301:directorial debut
287:
266:
265:
25:1960 Italian film
4325:
4073:Danger: Diabolik
4059:Kill, Baby, Kill
3967:
3960:
3953:
3944:
3943:
3797:
3790:
3783:
3774:
3773:
3740:
3721:
3698:
3696:
3694:
3685:. Archived from
3671:
3648:
3637:
3635:
3633:
3616:
3586:
3564:
3553:
3551:
3549:
3540:. Archived from
3528:
3526:
3524:
3507:
3484:
3465:
3463:
3461:
3456:on April 9, 2013
3452:. Archived from
3438:
3414:
3399:
3386:
3384:
3382:
3373:. Archived from
3350:
3349:, pp. 38–9.
3344:
3338:
3332:
3326:
3320:
3311:
3305:
3296:
3290:
3284:
3278:
3272:
3266:
3251:
3245:
3239:
3233:
3227:
3221:
3215:
3209:
3203:
3197:
3191:
3185:
3179:
3173:
3162:
3156:
3150:
3144:
3135:
3129:
3123:
3117:
3104:
3103:
3101:
3099:
3084:
3078:
3077:
3075:
3073:
3058:
3052:
3046:
3040:
3034:
3028:
3022:
3016:
3010:
3004:
2998:
2992:
2986:
2973:
2967:
2950:
2944:
2938:
2932:
2923:
2917:
2911:
2905:
2896:
2890:
2884:
2878:
2872:
2866:
2857:
2856:, p. 310-2.
2851:
2845:
2839:
2828:
2822:
2816:
2810:
2799:
2793:
2784:
2778:
2769:
2763:
2757:
2751:
2732:
2726:
2720:
2719:, p. 302-3.
2714:
2708:
2702:
2681:
2680:, p. 301-2.
2675:
2669:
2663:
2657:
2651:
2645:
2639:
2633:
2627:
2621:
2615:
2609:
2603:
2597:
2596:, p. 297-8.
2591:
2585:
2584:, p. 296-7.
2579:
2573:
2567:
2550:
2549:, p. 295-6.
2544:
2538:
2532:
2519:
2513:
2504:
2498:
2492:
2486:
2480:
2474:
2465:
2459:
2448:
2442:
2436:
2430:
2424:
2418:
2409:
2403:
2394:
2388:
2371:
2370:, p. 291-2.
2365:
2359:
2353:
2344:
2343:, p. 290-1.
2338:
2332:
2326:
2320:
2314:
2305:
2299:
2288:
2287:, p. 285-6.
2282:
2276:
2270:
2264:
2258:
2252:
2251:, p. 284-5.
2246:
2240:
2234:
2228:
2222:
2213:
2207:
2201:
2195:
2189:
2183:
2177:
2171:
2152:
2146:
2127:
2121:
2115:
2109:
2096:
2095:
2093:
2091:
2075:
2069:
2063:
2027:
2023:
2017:
2013:
2007:
1997:
1994:
1989:
1906:Alfred Hitchcock
1868:emerges from an
1817:
1792:Federico Fellini
1768:(1961), Freda's
1723:Lawrence Woolner
1683:. In the 2010s,
1268:Samuel Z. Arkoff
1248:Roberto Nicolosi
1246:was composed by
1212:miniature effect
1076:
1026:and as Nieto in
1000:Vittorio De Sica
928:20th Century Fox
845:
755:Ennio de Concini
628:sword-and-sandal
605:Germana Dominici
571:
556:
547:
416:Roberto Nicolosi
404:Samuel Z. Arkoff
327:'s short story "
299:in his official
282:
221:
219:
168:Roberto Nicolosi
40:
28:
27:
4333:
4332:
4328:
4327:
4326:
4324:
4323:
4322:
4208:
4207:
4206:
4201:
4141:
3976:
3971:
3941:
3936:
3917:
3882:
3855:
3812:
3801:
3768:Rotten Tomatoes
3747:
3737:
3718:
3692:
3690:
3668:
3631:
3629:
3613:
3591:Marriott, James
3583:
3547:
3545:
3522:
3520:
3504:
3481:
3459:
3457:
3435:
3419:Clarens, Carlos
3380:
3378:
3377:on May 23, 2019
3359:
3354:
3353:
3345:
3341:
3333:
3329:
3321:
3314:
3306:
3299:
3291:
3287:
3279:
3275:
3267:
3254:
3246:
3242:
3234:
3230:
3222:
3218:
3210:
3206:
3198:
3194:
3186:
3182:
3174:
3165:
3157:
3153:
3145:
3138:
3130:
3126:
3118:
3107:
3097:
3095:
3094:on June 7, 2020
3086:
3085:
3081:
3071:
3069:
3060:
3059:
3055:
3051:, p. 1081.
3047:
3043:
3035:
3031:
3023:
3019:
3011:
3007:
2999:
2995:
2987:
2976:
2968:
2953:
2945:
2941:
2933:
2926:
2918:
2914:
2910:, p. 1078.
2906:
2899:
2891:
2887:
2879:
2875:
2867:
2860:
2852:
2848:
2840:
2831:
2823:
2819:
2811:
2802:
2794:
2787:
2779:
2772:
2764:
2760:
2752:
2735:
2727:
2723:
2715:
2711:
2703:
2684:
2676:
2672:
2664:
2660:
2652:
2648:
2640:
2636:
2628:
2624:
2616:
2612:
2604:
2600:
2592:
2588:
2580:
2576:
2568:
2553:
2545:
2541:
2533:
2522:
2514:
2507:
2499:
2495:
2487:
2483:
2475:
2468:
2460:
2451:
2443:
2439:
2431:
2427:
2419:
2412:
2404:
2397:
2389:
2374:
2366:
2362:
2354:
2347:
2339:
2335:
2327:
2323:
2315:
2308:
2300:
2291:
2283:
2279:
2271:
2267:
2259:
2255:
2247:
2243:
2235:
2231:
2223:
2216:
2208:
2204:
2196:
2192:
2184:
2180:
2172:
2155:
2147:
2130:
2122:
2118:
2110:
2099:
2089:
2087:
2077:
2076:
2072:
2064:
2041:
2036:
2031:
2030:
2024:
2020:
2014:
2010:
1995:
1990:
1986:
1981:
1976:
1946:(1964) and the
1845:The Blood Demon
1815:
1699:
1635:Richard Gilliam
1625:
1534:
1529:
1443:
1335:
1280:Fulvio Lucisano
1265:
1225:
1220:
1218:Post-production
1184:matte paintings
1172:
1147:special effects
1101:Arturo Dominici
1078:
1070:
1042:
1020:Arturo Dominici
970:John Richardson
934:in the Western
892:Bava felt that
890:
843:
802:Mario Serandrei
771:Silvana Mangano
717:
644:science fiction
620:
615:
610:
569:
566:Arturo Dominici
562:as Prince Vajda
554:
545:
542:John Richardson
520:
492:
321:Arturo Dominici
309:John Richardson
303:, and starring
232:
225:
217:
215:
208:
193:
188:
186:
178:Black and white
158:Mario Serandrei
149:
146:Enrico Olivieri
142:Arturo Dominici
127:John Richardson
110:Massimo De Rita
98:
47:
26:
21:
12:
11:
5:
4331:
4321:
4320:
4315:
4310:
4305:
4303:Censored films
4300:
4295:
4290:
4285:
4280:
4275:
4270:
4265:
4260:
4255:
4250:
4245:
4240:
4235:
4230:
4225:
4220:
4203:
4202:
4200:
4199:
4192:
4185:
4178:
4171:
4164:
4157:
4149:
4147:
4143:
4142:
4140:
4139:
4132:
4125:
4118:
4111:
4108:A Bay of Blood
4104:
4097:
4090:
4083:
4076:
4069:
4062:
4055:
4048:
4041:
4034:
4027:
4020:
4013:
4006:
3999:
3992:
3984:
3982:
3981:Films directed
3978:
3977:
3970:
3969:
3962:
3955:
3947:
3938:
3937:
3935:
3934:
3925:
3923:
3919:
3918:
3916:
3915:
3907:
3899:
3890:
3888:
3884:
3883:
3881:
3880:
3872:
3863:
3861:
3857:
3856:
3854:
3853:
3845:
3837:
3829:
3820:
3818:
3814:
3813:
3800:
3799:
3792:
3785:
3777:
3771:
3770:
3759:
3746:
3745:External links
3743:
3742:
3741:
3736:978-0786407552
3735:
3722:
3716:
3704:Sullivan, Jack
3699:
3672:
3666:
3649:
3638:
3617:
3611:
3587:
3581:
3565:
3554:
3529:
3508:
3502:
3485:
3479:
3466:
3439:
3433:
3415:
3400:
3387:
3358:
3355:
3352:
3351:
3339:
3327:
3325:, p. 326.
3312:
3310:, p. 323.
3297:
3285:
3273:
3271:, p. 322.
3252:
3240:
3238:, p. 111.
3236:Blackford 2013
3228:
3216:
3204:
3192:
3180:
3178:, p. 158.
3163:
3151:
3136:
3134:, p. 119.
3124:
3122:, p. 327.
3105:
3079:
3053:
3041:
3029:
3027:, p. 110.
3025:Blackford 2013
3017:
3005:
3001:Marsiglia 2012
2993:
2974:
2972:, p. 317.
2951:
2939:
2937:, p. 316.
2924:
2912:
2897:
2885:
2883:, p. 313.
2873:
2858:
2846:
2844:, p. 310.
2829:
2817:
2800:
2798:, p. 308.
2785:
2783:, p. 314.
2770:
2758:
2756:, p. 306.
2733:
2731:, p. 303.
2721:
2709:
2707:, p. 305.
2682:
2670:
2668:, p. 301.
2658:
2656:, p. 300.
2646:
2634:
2622:
2620:, p. 297.
2610:
2598:
2586:
2574:
2551:
2539:
2537:, p. 299.
2520:
2518:, p. 295.
2505:
2503:, p. 254.
2493:
2491:, p. 192.
2481:
2466:
2464:, p. 294.
2449:
2437:
2435:, p. 293.
2425:
2410:
2408:, p. 292.
2395:
2372:
2360:
2358:, p. 291.
2345:
2333:
2331:, p. 287.
2321:
2306:
2304:, p. 286.
2289:
2277:
2275:, p. 285.
2265:
2253:
2241:
2229:
2227:, p. 296.
2214:
2212:, p. 283.
2202:
2200:, p. 277.
2190:
2178:
2153:
2151:, p. 309.
2128:
2126:, p. 298.
2116:
2114:, p. 282.
2097:
2070:
2038:
2037:
2035:
2032:
2029:
2028:
2018:
2008:
1983:
1982:
1980:
1977:
1975:
1972:
1970:would follow.
1922:" made use of
1698:
1695:
1646:James Marriott
1624:
1621:
1609:Carlos Clarens
1568:declared that
1533:
1530:
1528:
1525:
1442:
1439:
1405:Carry On Nurse
1400:double feature
1359:(1962), where
1334:
1331:
1264:
1261:
1224:
1221:
1219:
1216:
1171:
1168:
1151:tracking shots
1139:Ubaldo Terzano
1127:Marilyn Monroe
1073:Barbara Steele
1058:
1041:
1038:
986:Andrea Checchi
902:Barbara Steele
889:
886:
863:Riccardo Freda
859:at first sight
716:
713:
689:'s version of
687:Terence Fisher
619:
616:
614:
611:
609:
608:
602:
596:
593:
587:
581:
575:
572:
563:
557:
551:Andrea Checchi
548:
539:
536:Barbara Steele
532:
519:
516:
491:
488:
465:James Marriott
374:'s version of
372:Terence Fisher
313:Andrea Checchi
305:Barbara Steele
264:
263:
257:
253:
252:
249:
245:
244:
241:
237:
236:
233:
230:
227:
226:
224:
223:
211:
209:
206:
203:
202:
199:
198:Distributed by
195:
194:
191:
189:
184:
181:
180:
175:
171:
170:
165:
161:
160:
155:
151:
150:
148:
147:
144:
139:
134:
132:Andrea Checchi
129:
124:
122:Barbara Steele
118:
116:
112:
111:
108:
104:
103:
91:
87:
86:
83:
79:
78:
73:
69:
68:
65:
64:
59:
53:
52:
49:
48:
41:
33:
32:
24:
9:
6:
4:
3:
2:
4330:
4319:
4316:
4314:
4311:
4309:
4306:
4304:
4301:
4299:
4296:
4294:
4291:
4289:
4286:
4284:
4281:
4279:
4276:
4274:
4271:
4269:
4266:
4264:
4261:
4259:
4256:
4254:
4251:
4249:
4246:
4244:
4241:
4239:
4236:
4234:
4231:
4229:
4226:
4224:
4221:
4219:
4216:
4215:
4213:
4198:
4197:
4193:
4191:
4190:
4186:
4184:
4183:
4179:
4177:
4176:
4172:
4170:
4169:
4165:
4163:
4162:
4158:
4156:
4155:
4151:
4150:
4148:
4144:
4138:
4137:
4133:
4131:
4130:
4126:
4124:
4123:
4119:
4117:
4116:
4112:
4110:
4109:
4105:
4103:
4102:
4098:
4096:
4095:
4091:
4089:
4088:
4084:
4082:
4081:
4077:
4075:
4074:
4070:
4068:
4067:
4063:
4061:
4060:
4056:
4054:
4053:
4049:
4047:
4046:
4042:
4040:
4039:
4035:
4033:
4032:
4028:
4026:
4025:
4021:
4019:
4018:
4017:Black Sabbath
4014:
4012:
4011:
4007:
4005:
4004:
4000:
3998:
3997:
3993:
3991:
3990:
3986:
3985:
3983:
3979:
3975:
3968:
3963:
3961:
3956:
3954:
3949:
3948:
3945:
3932:
3931:
3927:
3926:
3924:
3920:
3913:
3912:
3908:
3905:
3904:
3900:
3897:
3896:
3892:
3891:
3889:
3885:
3878:
3877:
3873:
3870:
3869:
3865:
3864:
3862:
3858:
3851:
3850:
3846:
3843:
3842:
3838:
3835:
3834:
3830:
3827:
3826:
3822:
3821:
3819:
3815:
3811:
3810:
3805:
3804:Nikolai Gogol
3798:
3793:
3791:
3786:
3784:
3779:
3778:
3775:
3769:
3765:
3764:
3760:
3758:
3754:
3753:
3749:
3748:
3738:
3732:
3728:
3723:
3719:
3717:0-670-80902-0
3713:
3709:
3705:
3700:
3688:
3684:
3683:
3678:
3673:
3669:
3667:0-7864-0137-0
3663:
3659:
3655:
3650:
3647:. p. 54.
3646:
3645:
3639:
3627:
3623:
3618:
3614:
3612:9781787391390
3608:
3604:
3603:Carlton Books
3600:
3596:
3592:
3588:
3584:
3578:
3574:
3570:
3566:
3562:
3561:
3555:
3543:
3539:
3535:
3530:
3518:
3514:
3509:
3505:
3499:
3495:
3491:
3486:
3482:
3476:
3472:
3467:
3455:
3451:
3450:
3445:
3440:
3436:
3434:0-306-80800-5
3430:
3426:
3425:
3420:
3416:
3412:
3408:
3407:
3401:
3397:
3393:
3388:
3376:
3372:
3371:
3366:
3361:
3360:
3348:
3343:
3336:
3331:
3324:
3319:
3317:
3309:
3304:
3302:
3295:, p. 92.
3294:
3289:
3283:, p. 63.
3282:
3281:Conterio 2015
3277:
3270:
3265:
3263:
3261:
3259:
3257:
3249:
3244:
3237:
3232:
3226:, p. 98.
3225:
3220:
3213:
3208:
3202:, p. 37.
3201:
3200:Sullivan 1986
3196:
3189:
3184:
3177:
3172:
3170:
3168:
3160:
3155:
3149:, p. 42.
3148:
3147:Conterio 2015
3143:
3141:
3133:
3128:
3121:
3116:
3114:
3112:
3110:
3093:
3089:
3083:
3067:
3063:
3057:
3050:
3045:
3038:
3033:
3026:
3021:
3014:
3009:
3002:
2997:
2991:, p. 48.
2990:
2985:
2983:
2981:
2979:
2971:
2966:
2964:
2962:
2960:
2958:
2956:
2948:
2943:
2936:
2931:
2929:
2921:
2920:Conterio 2015
2916:
2909:
2904:
2902:
2894:
2889:
2882:
2877:
2871:, p. 41.
2870:
2869:Conterio 2015
2865:
2863:
2855:
2850:
2843:
2838:
2836:
2834:
2826:
2825:Conterio 2015
2821:
2815:, p. 40.
2814:
2813:Conterio 2015
2809:
2807:
2805:
2797:
2792:
2790:
2782:
2777:
2775:
2767:
2762:
2755:
2750:
2748:
2746:
2744:
2742:
2740:
2738:
2730:
2725:
2718:
2713:
2706:
2701:
2699:
2697:
2695:
2693:
2691:
2689:
2687:
2679:
2674:
2667:
2662:
2655:
2650:
2644:, p. 32.
2643:
2642:Conterio 2015
2638:
2632:, p. 45.
2631:
2626:
2619:
2614:
2608:, p. 39.
2607:
2606:Conterio 2015
2602:
2595:
2590:
2583:
2578:
2572:, p. 47.
2571:
2566:
2564:
2562:
2560:
2558:
2556:
2548:
2543:
2536:
2531:
2529:
2527:
2525:
2517:
2512:
2510:
2502:
2497:
2490:
2485:
2479:, p. 34.
2478:
2477:Conterio 2015
2473:
2471:
2463:
2458:
2456:
2454:
2447:, p. 33.
2446:
2445:Conterio 2015
2441:
2434:
2429:
2423:, p. 31.
2422:
2421:Conterio 2015
2417:
2415:
2407:
2402:
2400:
2393:, p. 38.
2392:
2387:
2385:
2383:
2381:
2379:
2377:
2369:
2364:
2357:
2352:
2350:
2342:
2337:
2330:
2325:
2319:, p. 41.
2318:
2313:
2311:
2303:
2298:
2296:
2294:
2286:
2281:
2274:
2269:
2262:
2257:
2250:
2245:
2238:
2233:
2226:
2221:
2219:
2211:
2206:
2199:
2194:
2188:, p. 21.
2187:
2186:Conterio 2015
2182:
2176:, p. 40.
2175:
2170:
2168:
2166:
2164:
2162:
2160:
2158:
2150:
2145:
2143:
2141:
2139:
2137:
2135:
2133:
2125:
2120:
2113:
2108:
2106:
2104:
2102:
2086:
2085:
2080:
2074:
2068:, p. 37.
2067:
2062:
2060:
2058:
2056:
2054:
2052:
2050:
2048:
2046:
2044:
2039:
2022:
2012:
2005:
2001:
1988:
1984:
1971:
1969:
1965:
1961:
1957:
1953:
1952:Dario Argento
1949:
1945:
1944:
1939:
1938:
1933:
1929:
1925:
1921:
1917:
1913:
1912:
1907:
1903:
1902:
1897:
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1885:
1881:
1879:
1875:
1871:
1867:
1863:
1862:
1861:Sleepy Hollow
1857:
1853:
1852:
1847:
1846:
1841:
1840:
1839:The She Beast
1835:
1834:
1829:
1828:
1823:
1822:
1814:
1810:
1805:
1803:
1799:
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1671:
1665:
1662:
1658:
1654:
1653:
1647:
1643:
1640:
1636:
1632:
1631:
1623:Retrospective
1620:
1618:
1614:
1610:
1606:
1605:
1600:
1599:
1594:
1593:
1588:
1587:
1581:
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1561:
1557:
1556:
1551:
1550:
1545:
1544:
1539:
1524:
1521:
1517:
1516:public domain
1513:
1508:
1506:
1502:
1498:
1497:
1492:
1491:
1490:Black Sabbath
1485:
1481:
1480:
1474:
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1468:
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1460:
1456:
1452:
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1417:
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1411:
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1401:
1397:
1393:
1392:Allen Theatre
1389:
1385:
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1377:
1372:
1370:
1366:
1362:
1358:
1357:
1356:I motorizzati
1352:
1348:
1344:
1340:
1330:
1328:
1327:
1322:
1318:
1314:
1309:
1306:
1302:
1297:
1296:Titra Studios
1293:
1287:
1285:
1281:
1277:
1273:
1269:
1260:
1258:
1254:
1253:James Bernard
1249:
1245:
1240:
1238:
1233:
1230:
1215:
1213:
1208:
1204:
1203:grease pencil
1200:
1195:
1193:
1192:day for night
1189:
1185:
1180:
1178:
1167:
1165:
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1156:
1152:
1148:
1143:
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979:
975:
971:
967:
965:
964:
959:
955:
951:
947:
943:
939:
938:
933:
932:Elvis Presley
929:
925:
924:
919:
918:
913:
912:
907:
903:
899:
895:
885:
882:
878:
874:
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869:
864:
860:
856:
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842:
838:
834:
833:
828:
824:
823:
818:
814:
809:
807:
803:
798:
796:
795:
790:
786:
782:
778:
777:
772:
768:
767:good and evil
764:
760:
756:
751:
749:
745:
741:
736:
732:
731:
726:
722:
721:Nikolai Gogol
712:
710:
706:
702:
698:
694:
693:
688:
684:
680:
675:
673:
672:
667:
663:
659:
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635:
634:
629:
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582:
579:
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552:
549:
543:
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537:
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531:
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427:
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401:
397:
395:
391:
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379:
378:
373:
369:
365:
364:
359:
358:
353:
352:
347:
346:
340:
338:
334:
330:
326:
325:Nikolai Gogol
322:
318:
314:
310:
306:
302:
298:
294:
291:
290:gothic horror
285:
280:
276:
272:
271:
261:
258:
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250:
246:
242:
238:
234:
228:
213:
212:
210:
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196:
190:
182:
179:
176:
174:Color process
172:
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162:
159:
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152:
145:
143:
140:
138:
135:
133:
130:
128:
125:
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119:
117:
113:
109:
105:
102:
101:Nikolai Gogol
96:
92:
88:
84:
80:
77:
74:
70:
66:
63:
60:
58:
54:
50:
45:
39:
34:
29:
23:
19:
4194:
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4173:
4166:
4159:
4152:
4134:
4127:
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4113:
4106:
4099:
4092:
4085:
4078:
4071:
4064:
4057:
4050:
4043:
4036:
4029:
4022:
4015:
4008:
4001:
3994:
3989:Black Sunday
3988:
3987:
3928:
3909:
3901:
3893:
3874:
3866:
3847:
3839:
3833:Black Sunday
3832:
3831:
3823:
3807:
3763:Black Sunday
3762:
3752:Black Sunday
3751:
3726:
3707:
3691:. Retrieved
3687:the original
3682:The Guardian
3680:
3653:
3642:
3630:. Retrieved
3626:the original
3598:
3572:
3558:
3548:November 27,
3546:. Retrieved
3542:the original
3521:. Retrieved
3517:the original
3489:
3471:Black Sunday
3470:
3460:November 30,
3458:. Retrieved
3454:the original
3447:
3423:
3404:
3392:Black Sunday
3391:
3381:November 27,
3379:. Retrieved
3375:the original
3368:
3342:
3330:
3288:
3276:
3243:
3231:
3219:
3207:
3195:
3183:
3176:Clarens 1997
3159:Masters 1961
3154:
3132:Hoveida 1961
3127:
3096:. Retrieved
3092:the original
3082:
3070:. Retrieved
3066:the original
3056:
3044:
3037:O'Neill 2013
3032:
3020:
3013:Deighan 2015
3008:
2996:
2942:
2922:, p. 8.
2915:
2888:
2876:
2849:
2827:, p. 7.
2820:
2761:
2724:
2712:
2673:
2661:
2649:
2637:
2625:
2613:
2601:
2589:
2577:
2542:
2496:
2484:
2440:
2428:
2363:
2336:
2324:
2280:
2268:
2256:
2244:
2232:
2205:
2193:
2181:
2119:
2088:. Retrieved
2082:
2073:
2021:
2011:
1987:
1968:Jesús Franco
1960:Black Sunday
1959:
1947:
1941:
1935:
1928:Black Sunday
1927:
1924:fast cutting
1920:shower scene
1916:Black Sunday
1915:
1909:
1899:
1891:
1887:
1884:Black Sunday
1883:
1882:
1874:Black Sunday
1873:
1859:
1849:
1843:
1837:
1831:
1825:
1821:The Brainiac
1819:
1813:Black Sunday
1812:
1806:
1802:Black Sunday
1801:
1795:
1781:
1775:
1769:
1763:
1756:Black Sunday
1755:
1753:
1749:Black Sunday
1748:
1744:
1736:
1730:
1727:Black Sunday
1726:
1719:Black Sunday
1718:
1712:
1707:Black Sunday
1706:
1691:Black Sunday
1690:
1684:
1680:
1674:
1668:
1666:
1657:Black Sunday
1656:
1650:
1644:
1628:
1626:
1617:Black Sunday
1616:
1613:Black Sunday
1612:
1602:
1596:
1590:
1584:
1577:
1575:
1570:Black Sunday
1569:
1563:
1553:
1547:
1541:
1538:Black Sunday
1537:
1535:
1519:
1509:
1494:
1488:
1483:
1477:
1475:
1470:
1447:Black Sunday
1446:
1444:
1434:
1427:Black Sunday
1426:
1425:
1420:Black Sunday
1419:
1413:
1410:Roger Corman
1403:
1396:Black Sunday
1395:
1388:Black Sunday
1387:
1383:
1379:
1375:
1373:
1368:
1365:Black Sunday
1364:
1361:Ugo Tognazzi
1354:
1347:Italian lira
1342:
1339:Black Sunday
1338:
1336:
1324:
1310:
1304:
1300:
1288:
1284:Black Sunday
1283:
1266:
1256:
1244:Black Sunday
1243:
1241:
1236:
1234:
1229:Black Sunday
1228:
1226:
1198:
1196:
1181:
1173:
1144:
1136:
1123:
1110:
1086:Black Sunday
1085:
1079:
1069:
1060:
1049:Black Sunday
1048:
1032:
1027:
1023:
1013:
1003:
993:
977:
973:
968:
961:
954:Black Sunday
953:
946:Barbara Eden
937:Flaming Star
935:
921:
915:
909:
908:, including
897:
894:Black Sunday
893:
891:
877:Black Sunday
876:
875:, Bava used
872:
866:
848:
841:Black Sunday
840:
836:
830:
826:
822:House of Wax
820:
816:
812:
810:
799:
792:
789:Black Sunday
788:
781:Sergio Leone
774:
762:
758:
752:
743:
728:
718:
709:Black Sunday
708:
700:
690:
678:
676:
669:
665:
657:
653:
647:
637:
631:
621:
599:Renato Terra
592:as Innkeeper
578:Tino Bianchi
527:
523:
521:
512:
508:
504:
500:
493:
477:
458:
455:Black Sunday
454:
448:
442:
436:
430:
428:
423:
400:Black Sunday
399:
398:
389:
375:
361:
355:
349:
343:
341:
295:directed by
293:fantasy film
270:Black Sunday
269:
268:
267:
231:Running time
222: (Italy)
207:Release date
61:
31:Black Sunday
22:
4196:The Odyssey
4115:Baron Blood
3595:Newman, Kim
3396:Arrow Films
3394:(booklet).
3188:Archer 1961
2947:Weaver 1999
1964:Jean Rollin
1956:Lucio Fulci
1870:iron maiden
1848:(1967) and
1809:inquisition
1774:(1962) and
1737:Sveto mesto
1713:Bava's son
1661:chiaroscuro
1520:Baron Blood
1496:Baron Blood
1467:Arrow Video
1463:Kino Lorber
1305:fornicating
1255:'s work on
1034:Ivo Garrani
881:backstories
871:(1957) and
851:storyboards
705:Technicolor
636:(1958) and
624:genre films
618:Development
590:Clara Bindi
560:Ivo Garrani
380:(1958) for
368:horror film
360:(1959) and
348:(1958) and
317:Ivo Garrani
262:139 million
137:Ivo Garrani
107:Produced by
72:Directed by
44:film poster
4218:1960 films
4212:Categories
4136:Rabid Dogs
3974:Mario Bava
3903:Gogol. Viy
3887:Television
3710:. Viking.
3632:January 7,
3601:. London:
3569:Lucas, Tim
3523:January 7,
3347:Curti 2015
3335:Lucas 2013
3323:Lucas 2013
3308:Lucas 2013
3269:Lucas 2013
3120:Lucas 2013
3098:January 7,
3072:January 7,
3049:Lucas 2013
2989:Curti 2015
2970:Lucas 2013
2935:Lucas 2013
2908:Lucas 2013
2893:Lucas 2013
2881:Lucas 2013
2854:Lucas 2013
2842:Lucas 2013
2796:Lucas 2013
2781:Lucas 2013
2766:Lucas 2013
2754:Lucas 2013
2729:Lucas 2013
2717:Lucas 2013
2705:Lucas 2013
2678:Lucas 2013
2666:Lucas 2013
2654:Lucas 2013
2630:Curti 2015
2618:Lucas 2013
2594:Lucas 2013
2582:Lucas 2013
2570:Curti 2015
2547:Lucas 2013
2535:Lucas 2013
2516:Lucas 2013
2501:Lucas 2013
2489:Lucas 2013
2462:Lucas 2013
2433:Lucas 2013
2406:Lucas 2013
2391:Curti 2015
2368:Lucas 2013
2356:Lucas 2013
2341:Lucas 2013
2329:Lucas 2013
2317:Curti 2015
2302:Lucas 2013
2285:Lucas 2013
2273:Lucas 2013
2261:Curti 2015
2249:Lucas 2013
2237:Lucas 2013
2225:Lucas 2013
2210:Lucas 2013
2198:Lucas 2013
2174:Curti 2015
2149:Lucas 2013
2124:Lucas 2013
2112:Lucas 2013
2090:January 7,
2066:Curti 2015
2000:incestuous
1974:References
1866:Lisa Marie
1856:Tim Burton
1790:, such as
1760:Kim Newman
1408:(1959) or
1376:Witchcraft
1351:movie star
1313:Les Baxter
1292:Lou Rusoff
1282:, to view
1131:film stock
1010:Fritz Lang
958:head shots
948:. After a
942:Don Siegel
761:films and
683:apocryphal
662:Mario Bava
613:Production
484:movie star
420:Les Baxter
297:Mario Bava
256:Box office
235:87 minutes
218:1960-08-11
185:Production
85:Mario Bava
76:Mario Bava
4154:I Vampiri
3922:Animation
3597:(2018) .
3494:McFarland
3421:(1997) .
3398:. FCD756.
2034:Citations
1788:art films
1777:The Ghost
1611:declared
1560:Tom Milne
1527:Reception
1501:two-track
1471:I Vampiri
1451:LaserDisc
1384:Vengeance
1380:The Curse
1199:I Vampiri
1188:cyclorama
1149:work and
1142:printed.
1114:Satanists
1005:Two Women
868:I Vampiri
785:Tim Lucas
748:centurion
740:treatment
586:as Priest
494:In 1630s
470:eroticism
154:Edited by
3571:(2013).
3538:AllMovie
3449:Time Out
1934:and the
1854:(1990).
1842:(1966),
1836:(1964),
1830:(1964),
1824:(1962),
1715:Lamberto
1686:Time Out
1676:Fangoria
1639:AllMovie
1418:(1960).
1205:, while
1177:lifecast
1159:close-up
1024:Hercules
974:Sapphire
917:Sapphire
914:(1958),
835:(1957) (
797:(1958).
759:Hercules
730:Mirgorod
658:Hercules
654:Hercules
633:Hercules
570:(Javuto)
496:Moldavia
476:and the
460:Time Out
345:Hercules
333:Moldavia
248:Language
164:Music by
115:Starring
90:Based on
82:Story by
42:Italian
3860:Sequels
3706:(ed.).
3693:30 July
3660:, Inc.
3357:Sources
3212:Gilliam
1993:transl.
1892:Dracula
1681:Dracula
1670:Shivers
1592:Variety
1562:of the
1555:Positif
1459:Blu-ray
1449:was on
1333:Release
1321:exotica
1257:Dracula
1164:Eugenio
1040:Filming
1028:Caltiki
898:Dracula
888:Casting
873:Caltiki
776:Ulysses
742:titled
701:Dracula
692:Dracula
450:Variety
390:Dracula
377:Dracula
286:
275:Italian
251:Italian
240:Country
216: (
187:company
57:Italian
3933:(1996)
3914:(2018)
3906:(2018)
3898:(2017)
3879:(2024)
3871:(2019)
3852:(2014)
3844:(1967)
3836:(1960)
3828:(1909)
3733:
3714:
3664:
3609:
3579:
3500:
3477:
3431:
1948:gialli
1937:giallo
1911:Psycho
1549:auteur
1398:was a
1323:album
1301:hating
1091:Arsoli
1063:Chopin
1053:Arsoli
829:) and
813:Il Viy
744:Il Vij
479:giallo
447:, and
394:Arsoli
201:Unidis
4129:Shock
3817:Films
1979:Notes
1816:'
1807:The "
1317:dirge
1207:rouge
1155:dolly
1118:fangs
1105:fangs
855:motif
844:'
735:gnome
646:film
337:witch
243:Italy
3757:IMDb
3731:ISBN
3712:ISBN
3695:2015
3662:ISBN
3634:2021
3607:ISBN
3577:ISBN
3550:2020
3525:2021
3498:ISBN
3475:ISBN
3462:2020
3429:ISBN
3383:2020
3100:2021
3074:2021
2092:2021
2004:serf
1966:and
1954:and
1586:Time
1270:and
1084:for
1008:and
992:'s
976:and
963:Life
920:and
723:'s "
695:for
668:and
526:and
518:Cast
490:Plot
444:Time
406:and
284:lit.
3930:Viy
3849:Viy
3841:Viy
3825:Viy
3809:Viy
3806:'s
3766:at
3755:at
1950:of
1908:'s
1878:AMC
1794:'s
1732:Viy
1637:of
1512:TCM
1505:MGM
1412:'s
1382:or
1274:of
1012:'s
1002:'s
815:to
773:in
725:Viy
681:is
410:of
329:Viy
99:by
95:Viy
4214::
3679:.
3656:.
3605:.
3593:;
3536:.
3496:.
3492:.
3446:.
3367:.
3315:^
3300:^
3255:^
3166:^
3139:^
3108:^
2977:^
2954:^
2927:^
2900:^
2861:^
2832:^
2803:^
2788:^
2773:^
2736:^
2685:^
2554:^
2523:^
2508:^
2469:^
2452:^
2413:^
2398:^
2375:^
2348:^
2309:^
2292:^
2217:^
2156:^
2131:^
2100:^
2081:.
2042:^
2006:".
1958:.
1926:.
1797:8½
1607:,
1378:,
1329:.
1018:.
900:.
865:,
530:.
441:,
435:,
426:.
319:,
315:,
311:,
307:,
281:,
277::
3966:e
3959:t
3952:v
3796:e
3789:t
3782:v
3739:.
3720:.
3697:.
3670:.
3636:.
3615:.
3585:.
3552:.
3527:.
3506:.
3483:.
3464:.
3437:.
3413:.
3385:.
3250:.
3214:.
3190:.
3161:.
3102:.
3076:.
3039:.
3015:.
3003:.
2094:.
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