撒旦的面具 超清

分类：恐怖片 地区：其它年份：1960

主演：芭芭拉·斯蒂尔,约翰·理查森,安德烈·切齐,伊沃·加拉尼,阿尔图罗·多米尼奇,恩里科·奥利维耶里,..

导演：马里奥·巴瓦

更新：2023-07-17 17:57

简介：这是一部以气氛着称的经典恐怖片，讲述了1630年一位女巫和..这是一部以气氛着称的经典恐怖片，讲述了1630年一位女巫和她的情人被自己的兄弟杀死。两百年后，两人复活为她哥哥的后裔报仇，其中一位长得像女巫。像大多数意大利恐怖电影一样，故事并不特别，但哥特式的背景却令人难以忘怀。故事灵感来自果戈理小说。女主人公扮演两个角色，暗示善恶之间只有一线之隔，她的行为就像一个神志不清、不安分的肯尼迪夫人。 *****许多恐怖电影迷认为他们的最爱在环球影业、Hammer、RogerCorman 和其他一些知名恐怖电影制片厂和制片人的各种电影中实现了。其实，只有去阳光明媚的意大利看朦胧的意大利电影，才能真正体验到一部经典恐怖片。 BlackSunday（1960）又名 TheMaskofSatan：四年前，意大利电影制作人再次拍摄恐怖片，在雷纳托·波尔塞利（Renato Polselli）同样受欢迎的《吸血鬼与芭蕾舞女演员》（1960）之后，摄影师马里奥·巴瓦（Mario Bava）首次作为导演浮出水面，创造了一部具有代表性的恐怖片，它宣布了恐怖电影作为电影类型的诞生。撒旦面具是一部真正的恐怖电影

Italian horror maestro Mario Bava’s directorial debut, BLACK SUNDAY - also known as THE MASK OF SATAN, a more literal translation from its original Italian titleremains a gothic mood-enhancer par excellence, much obliged to Bava’s own cinematographic experiences and aptitude, its spooky, gnarly, chiaroscuro-heavy, imposingly ornate scenography substantively trumps up the well-worn story template drawn from Nikolai Gogol’s short story “Viy”. Set in the 19th century Moldavia, the corpse of Asa Vajda (Steele), executed (with a mask full of sharp spikes hammered into her face) for witchery alongside her lover Javutich (a menacingly vampiric Dominici) two centuries earlier, is resurrected inadvertently by the blood of passer-by Dr. Kruvajan (a four-square Checchi transiting two worlds apart as the unfortunate enabler-cum-victim) in a sepulchral crypt and immediately she tries to actualize the centuries-old curse hexed upon her demise, to exact revenge on the descendants of her brother who put her on the stake in the first place: Prince Vajda (Garrani) and his two children, son Constantine (Olivieri) and daughter Katia (Steele again, comporting herself with assured commitment in this dichotomous star-turn), a dead ringer of Asa herself, whose corporeal body she intends to possess. The plot courses through Isa’s inevitable resurrection and its equally inevitable debacle - effected by a concerted effort from a young doctor Gorobec (Richardson), who takes a shine to Katia and the God-fearing multitude - with steady assurance (without leaning heavily on gore or cheap scare) by nailing its Christianity-vanquishing-Satanism colors to the mast, and boosting an emphatically compelling score by Roberto Nicolosi, BLACK SUNDAY takes the mantle from earlier Hollywood horror and revitalizes the genre with a spellbound aura of chthonic terror, well-honed inevitability and the legerdemain of special effects (Katia’s rapid-aging process is quite a blinder of the magic-making practice), heralding the heyday of Italian “giallo” in the years to come, in which Bava himself would become quite a pioneer along with his younger compatriots Dario Argento, Lucio Fulci, Umberto Lenzi, just to name a few. referential entries: Carl Theodor Dreyer’s VAMPYR (1932, 7.7/10); René Clair’s I MARRIED A WITCH (1942, 5.8/10).

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