The Oblong Box – BFI (Blu-ray)

Theatrical Release Date: UK, 1969
Director: Gordon Hessler
Writers: Lawrence Huntington, Christopher Wicking, Michael Reeves
Cast: Vincent Price, Christopher Lee, Rupert Davies, Uta Levka, Sally Geeson, Alister Williamson, Peter Arne, Hilary Heath

Release Date: October 21st, 2024
Approximate Running Time: 96 Minutes 9 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: 15 (UK)
Sound: LPCM Mono English
Subtitles: English SDH
Region Coding: Region B
Retail Price: £16.99 (UK)

"In shadow-shrouded Victorian England, Sir Julian Markham (Price) is a landowner hiding a terrible family secret, while Dr Neuhartt (Lee) is a surgeon carrying out dreadful experiments upon stolen cadavers. When their disparate destinies entwine – and a mysterious murderer in a red mask begins a mission of vengeance – a series of brazen, bloody atrocities ensue." - synopsis provided by the distributor

Video: 3.75/5

Here’s the information provided about the transfer, "The Oblong Box has been supplied to the BFI by MGM and is presented in High Definition".

The Oblong Box comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.8 GB

Feature: 28.7 GB

This Blu-ray release uses the same master as all previous Blu-ray releases. Colors look correct, image clarity and black levels are strong, and compression is very good. That said, some minor source debris remains and instances where grain is not well resolved.

Audio: 3.75/5

This release comes with one audio option, a LPCM mono mix in English with removable English SDH. The audio sounds clear and balanced, and range-wise, things are satisfactory.

Extras:

Extras for this release include an extensive image gallery (stills/lobby cards/posters/advertisements), a theatrical trailer (1 minute 54 seconds, LPCM mono English, no subtitles), an archival interview with filmmaker Roger Corman titled Roger Corman on Edgar Allan Poe (9 minutes 48 seconds, LPCM stereo English, no subtitles), an interview with Victoria Price, Vincent Price’s daughter titled The Immortal Mr Price (16 minutes 53 seconds, LPCM stereo English, no subtitles), three Edgar Allan Poe short film adaptations; a silent short film titled The Bells (14 minutes 33 seconds, 1.33:1 aspect ratio, LPCM stereo with English intertitles, no subtitles), a silent short film titled Prelude (6 minutes 53 seconds, 1.33:1 aspect ratio, LPCM stereo with English intertitles, no subtitles), and a short film titled The Pit (26 minutes 59 seconds, 1.33:1 aspect ratio, LPCM mono English, no subtitles), an archival audio commentary with film historian Steve Haberman, and a 26-page booklet (first pressing only) with an essay titled Unlocking The Oblong Box written by Peter Fuller, an essay titled Boxed-In and Bowing-Out: Michael Reeves Quits The Oblong Box written by Benjamin Halligan, cast & crew information for The Oblong Box, The Bells, Prelude and The Pit, a text piece titled The Pit written by James Bell, and information about the transfer.

Summary:

Directed by Gordon Hessler, whose other notable films are Scream and Scream Again, Cry of the Banshee, Murders in the Rue Morgue, and The Golden Voyage of Sinbad. The Oblong Box is one of two films in which Gordon Hessler replaced Michael Reeves; the other film is Scream and Scream Again. The Oblong Box was adapted from the Edgar Allan Poe short story of the same name.

A man disfigured in a voodoo ritual is locked in the room by his guilt-ridden brother.

Though Vincent Price is widely known for his contribution to horror cinema, no other actor is more connected to the works of Edgar Allan Poe than he is. With The Oblong Box, he appeared in his final feature film adaptation of Edgar Allan Poe; the following year he would narrate a TV special titled An Evening of Edgar Allan Poe. His collaborations with Roger Corman are the best, while The Oblong Box falls somewhere in the middle. That said, the quality of these Edgar Allan Poe adaptations would greatly vary.

Things start off strong with a voodoo ritual that lays the foundation for the events that follow. Though there are a few tense moments before the big reveal in the finale, the narrative ultimately suffers from predictability. That said, despite this shortcoming, things move along quickly enough that there are no major lulls.

As good as the entire cast is, the main attraction is Vincent Price in the role of Sir Julian Markham. He delivers another superlative performance that elevates the material and everyone around him. That said, it's a shame they didn’t go with the original idea of making the brothers twins and having Vincent Price portray both of them. The cast features another horror icon, Christopher Lee (The Wicker Man), who portrays a doctor who employs grave robbers. Even with his limited screen time, he manages to steal a few scenes.

From a production standpoint, The Oblong Box is a film that does not waste any of its resources. Though the visuals are not overly stylish, Gordon Hessler’s solid direction lets the performances take center stage. That said, the scene where the doctor opens the coffin with the buried-alive brother is the most visually arresting moment. Ultimately, The Oblong Box is a well-made Edgar Allan Poe film that greatly benefits from Vincent Price’s performance.

BFI gives The Oblong Box an audio/video presentation that's on par with this film’s other home media release and an assortment of insightful extras.

Written by Michael Den Boer

Creature with the Blue Hand/Web of the Spider – Film Masters (Blu-ray)

Theatrical Release Dates: West Germany, 1967 (Creature with the Blue Hand), Italy, 1971 (Web of the Spider)
Directors: Alfred Vohrer (Creature with the Blue Hand), Antonio Margheriti (Web of the Spider)
Cast: Harald Leipnitz, Klaus Kinski, Carl Lange, Ilse Steppat, Hermann Lenschau, Diana Körner, Ilse Pagé (Creature with the Blue Hand), Anthony Franciosa, Michèle Mercier, Klaus Kinski, Peter Carsten, Silvano Tranquilli, Karin Field, Raf Baldassarre, Irina Maleeva, Enrico Osterman, Marco Bonetti, Vittorio Fanfoni, Carla Mancini, Omero Capanna (Web of the Spider)

Release Date: October 22nd, 2024
Approximate Running Times: 74 Minutes 18 Seconds (Creature with the Blue Hand), 93 Minutes 15 Seconds (Web of the Spider)
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Creature with the Blue Hand), 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Web of the Spider)
Rating: NR
Sound: DTS-HD Mono English, Dolby Digital Mono English (Both Films)
Subtitles: English SDH (Both Films)
Region Coding: Region A
Retail Price: $29.95

"For those craving a taste of "Euro-Kinski," two of Klaus Kinski's European features are now available in one creepy package. Presented for the first time in Blu-ray, Creature with the Blue Hand (1967) is a mystery-thriller about a series of grisly murders. It's one of several German films based on the novels of Edgar Wallace, many adaptations of which starred Kinski. This time he plays an escaped mental patient who might be the killer. Meanwhile, Web of the Spider (1971) is a classic haunted house tale from Italian maestro, Antonio Margheriti, with Kinski as none other than Edgar Allan Poe! It's a diabolical double dose from one of cinema's most controversial and unique figures!" - synopsis provided by the distributor

Video: 3.75/5 (Creature with the Blue Hand, Web of the Spider)

Here’s the information provided about Creature with the Blue Hand's transfer, "Scanned in 4K from 35mm archival elements."

Creature with the Blue Hand comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.5 GB

Feature: 20.2 GB (Creature with the Blue Hand), 19 GB (The Bloody Dead)

Here’s the information provided about Web of the Spider's transfer, "a new 4K scan."

Web of the Spider comes on a 50 GB dual layer Blu-ray.

Disc Size: 26.6 GB

Feature: 25.4 GB

The sources are in great shape, colors look good, black levels fare well, compression is very good, and there appears to be some digital noise reduction. Also, though the image is generally crisp, at times it looks soft.

Audio: 3.75/5 (Creature with the Blue Hand, Web of the Spider)

Creature with the Blue Hand and Web of the Spider each come with two audio options, a DTS-HD mono mix in English and a Dolby Digital mono mix in English. For this review, I only listened to the DTS-HD mono tracks. Dialog comes through clearly, and everything sounds balanced. That said, there are some sibilance issues. Both films come with removable English SDH.

Extras:

Extras for Creature with the Blue Hand include original theatrical trailer for Creature with the Blue Hand (1 minute 49 seconds, Dolby Digital mono English, no subtitles), a re-created 2024 trailer for Creature with the Blue Hand (1 minute 48 seconds, Dolby Digital mono English, no subtitles), a featurette with author/screenwriter Pete Atkins titled A Man of Mystery: Inside the World of Edgar Wallace (13 minutes 34 seconds, Dolby Digital stereo English with removable English SDH), a featurette with C. Courtney Joyner titled Kinski Krimis: Inside the Rialto Films Adaptations  (17 minutes 42 seconds, Dolby Digital stereo English with removable English SDH), an audio commentary with Stephen Jones and Kim Newman with optional English SDH, a bonus feature film titled The Bloody Dead (80 minutes 13 seconds, 1.66:1 aspect ratio, Dolby Digital mono English with removable English SDH), an archival audio commentary with Samuel M. Sherman for The Bloody Dead, and The Bloody Dead Raw Footage & Behind the Scenes (9 minutes 21 seconds, Dolby Digital mono English, no subtitles).

Extras for Web of the Spider include a re-created 2024 trailer for Web of Spider (1 minute 56 seconds, Dolby Digital mono English, no subtitles), original English language theatrical trailer for Castle of Blood (1 minute 42 seconds, Dolby Digital mono English, no subtitles), and an audio commentary with Stephen Jones and Kim Newman with optional English SDH.

Other extras include a 24-page booklet with an essay titled Creature with the Blue Hand and Germany’s Undersung Branch of Genre Cinema written by Nick Clark, and an essay titled Cobwebs and Castles Comparing Antonio Margheriti’s Castle of Blood and Web of the Spider written by Christopher Stewardson.

Summary:

Creature with the Blue Hand: Alfred Vohrer directed the film Creature with the Blue Hand. He is also known for making Dead Eyes of London, School of Fear, and The Horror of Blackwood Castle.

A psychopath with a blue hand terrorizes and kills a family in this narrative.

How can you go wrong with a film where Klaus Kinski portrays twin brothers? The other selling point is that one of the brothers is unhinged; unfortunately, there are very few moments where Klaus Kinski lets loose. His performance in Creature with the Blue Hand is one of his most subdued. That said, whenever he’s onscreen, these are the most enthralling moments.

Though the narrative has a lot of moving parts, there are an ample amount of red herrings. Unfortunately, the narrative is slow moving, never really builds momentum, and about halfway through becomes predictable. Despite having horror elements, Creature with the Blue Hand leans more towards a whodunit mystery. Fortunately, when it comes to the killer's weapon, an iron blue hand, and on screen carnage, these are two areas where Creature with the Blue Hand excels.

Twenty years after its original release, new footage was shot, and the film was renamed The Bloody Dead. This new footage does nothing to enhance the original film’s shortcomings. That said, though there have been numerous Krimi adaptations of Edgar Wallace, Creature with the Blue Hand is not one of the better ones.

Web of the Spider: Directed by Antonio Margheriti, whose notable films are The Virgin of Nuremberg, Castle of Blood, The Long Hair of Death, and Seven Deaths in the Cat's Eyes. Before Antonio Margheriti made a name for himself in the gothic horror genre, he was the premier Italian filmmaker working in the sci-fi genre, directing Assignment: Outer Space, Battle of the Worlds, and the Gamma One Quadrilogy (The Wild, Wild Planet, The War of the Planets, War Between the Planets, and Snow Devils).

The narrative revolves around a journalist who takes a bet to stay one night in a haunted castle.

There are a few genres that work better in black and white than they do when shot in color. And nowhere is this more evident than the Gothic horror genre and its striking use of black-and-white cinematography. By the early 1970s, gothic horror films shot in black and white were few and far between. Notable examples of gothic horror films shot in color are Hammer Films 1958 adaptation of Dracula and Roger Corman’s The Pit and the Pendulum.

Italian genre cinema throughout the 1950s, 1960s, and 1970s was filled with films that knocked off whatever genre was in vogue at the time. And though many Italian directors from this time frame were pigeonholed into a specific genre, there were a handful of directors who were able to be successful in multiple genres. 

Case in point: Antonio Margheriti, an Italian director whose career spanned five decades. His most successful periods were the 1960s and 1970s. And it is his work within the Gothic horror genre during the 1960s that is arguably his best film as a director. In the 1970s, he would return to the Gothic horror genre with Web of the Spider. And for the first time, he would shoot a Gothic horror film in color. The Web of the Spider would mark the first of two gothic horror films that he shot in color. The other film is Seven Dead in the Cat’s Eye.

Content-wise, Web of the Spider is a remake of Castle of Blood, a film that he directed seven years before and shot in black and white. And though there are many areas where these two films are virtually identical, when it comes to their visuals, they are like night and day. That said, both films create a tremendous amount of atmosphere, albeit in different ways. The way in which Web of Spider-Lights scenes give the visuals an unnatural look that superbly reinforces the state of limbo that the protagonist finds himself trapped in.

Though the performances in Web of the Spider are very good, none of the cast ever came close to matching Barbara Steele’s (Black Sunday) captivating performance from Castle of Blood. The most memorable performance was by Klaus Kinski (Count Dracula) in the role of Edgar Allen Poe. His character fills a similar role to the character he portrayed in Jess Franco’s Marquis de Sade’s Justine, a name actor brought in for a role that required limited screentime. Other notable cast members include Irina Maleeva (Kidnap Syndicate), Michèle Mercier (Black Sabbath) in the role of Elisabeth Blackwood, and Anthony Franciosa (Tenebrae) in the role of Alan Foster. Ultimately, Web of the Spider is a very good remake and one of the best examples of an Italian gothic horror film in color.

Creature with the Blue Hand and Web of the Spider is another solid release from Film Masters, recommended.

Written by Michael Den Boer

The Black Cat – Severin Films (Blu-ray)

Theatrical Release Date: Italy, 1989
Director: Luigi Cozzi
Writers: Luigi Cozzi, Daria Nicolodi
Cast: Florence Guérin, Urbano Barberini, Caroline Munro, Brett Halsey, Luisa Maneri, Karina Huff, Michele Soavi

Release Date: October 27th, 2020
Approximate Running Time: 88 Minutes 57 Seconds
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: NR
Sound: DTS-HD Mono English
Subtitles: English SDH
Region Coding: Region A
Retail Price: $29.98

"From Luigi Cozzi – the writer/director of Starcrash, Contamination and Paganini Horror – comes the over-the-top meta-shocker about a production company filming a new sequel to one of ‘70s Italian horror’s best-known classics and the resurrected supernatural demon that may destroy them all." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about the transfer, "now transferred in 2k from pristine vault elements for the first time ever."

The Black Cat comes on a 50 GB dual layer Blu-ray.

Disc Size: 26.3 GB

Feature: 24.1 GB

The source looks excellent. Colors are nicely saturated; image clarity is solid; black levels are strong; and compression is very good.

Audio: 4.25/5

This release comes with one audio option, a DTS-HD stereo mix in English with removable English SDH. The audio sounds clean, clear, and balanced, and the score sounds robust.

Extras:

Extras for this release include a theatrical trailer (2 minutes 9 seconds, Dolby Digital mono English, no subtitles), and an interview with director Luigi Cozzi and actress Caroline Munro titled Cat On The Brain (9 minutes 58 seconds, Dolby Digital stereo English, no subtitles).

Summary:

Directed by Luigi Cozzi, whose other notable films include The Killer Must Kill Again, Starcrash, Contamination, Paganini Horror, and a pair of Hercules remakes. Before becoming a director, Cozzi also worked on Dario Argento’s The Cat o’ Nine Tails and Four Flies on Grey Velvet.

The narrative revolves around a horror movie production that unknowingly resurrects a witch named Levana, who wreaks havoc on the world.

Though Luigi Cozzi is most known for his work within the science fiction and fantasy genres, his late 1980’s forays into the horror genre, Paganini Horror, and The Black Cat prove that he’s capable of excelling in other film genres.

Content-wise, The Black Cat is an odd film, even by Italian genre standards. The Black Cat shares the same title as an Edgar Allen Poe story. This film has no connection to Edgar Allen Poe. The Black Cat’s other connection to horror’s past is by way of co-screenwriter Daria Nicolodi, who wanted to complete the Three Mothers trilogy (the first two films are Suspiria and Inferno). That said, The Black Cat did not complete the Three Mothers trilogy. The result is an inventive spin on Thomas De Quincey’s Suspiria de Profundis.

From a production standpoint, The Black Cat has all the elements that have become synonymous with 1980’s Italian horror cinema: stylish visuals, gory murder set pieces, a soundtrack that features heavy metal bands like Bango Tango (Someone Like You) and White Lion (Radar Love), and music cues from Goblin’s Suspira score.

Despite being filmed in English, it’s obvious that some of the cast’s voices were overdubbed in post-production. Fortunately, this never takes away from any of the performances, which are more than adequate for the story at hand. The cast is filled with recognizable faces: Urbano Barberini (Opera), Brett Halsey (Cat in the Brain), Caroline Munro (Maniac), and Michele Soavi (Cemetery Man).

From its opening moments, The Black Cat is a well-executed horror film that’s always entertaining. The movie-within-movie premise of The Black Cat is effective because it revolves around characters being confronted by an evil entity that prevents them from making a movie about it. Ultimately, The Black Cat is a text-book example of Italian genre cinema’s ability to throw everything at the wall and see what sticks.

The Black Cat gets a first-rate release from Severin Films that comes with a solid audio/video presentation and an informative interview, recommended.

Written by Michael Den Boer

Danza Macabra Volume Two: The Italian Gothic Collection - Severin Films (4K UHD/Blu-ray Combo)

Theatrical Release Dates: Italy/France, 1964 (Castle of Blood), Italy, 1969 (Jekyll), Italy, 1971 (They Have Changed Their Face), Italy, 1972 (The Devil's Lover)
Directors: Antonio Margheriti (Castle of Blood), Giorgio Albertazzi (Jekyll), Corrado Farina (They Have Changed Their Face), Paolo Lombardo (The Devil's Lover)
Cast: Barbara Steele, Georges Rivière, Margrete Robsahm, Arturo Dominici, Silvano Tranquilli, Sylvia Sorrente, Umberto Raho, Giovanni Cianfriglia, Benito Stefanelli (Castle of Blood), Massimo Girotti, Giorgio Albertazzi, Bianca Toccafondi, Ugo Cardea, Ursula Davis, Bob Balchus, Sten Braafheid, Claudio Gora, Marina Berti, Anita Bartolucci, Penny Brown (Jekyll), Adolfo Celi, Geraldine Hooper, Giuliano Esperati, Francesca Modigliani (They Have Changed Their Face), Edmund Purdom, Rosalba Neri, Robert Woods, Ferdinando Poggi, Carla Mancini, Maria Teresa Pingitore, Spartaco Conversi (The Devil's Lover)

Release Date: January 30th, 2024
Approximate Running Times: 91 Minutes 19 Seconds (Danza Macabra), 82 Minutes 56 Seconds (Castle of Blood), 71 Minutes 53 Seconds (Jekyll Episode 1), 70 Minutes 37 Seconds (Jekyll Episode 2), 58 Minutes 37 Seconds (Jekyll Episode 3), 60 Minutes 48 Seconds (Jekyll Episode 4), 95 Minutes 39 Seconds (They Have Changed Their Face), 78 Minutes 7 Seconds (The Devil's Lover),
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10 (Castle of Blood), 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVCC (Castle of Blood, They Have Changed Their Face, The Devil's Lover), 1.33:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC (Jekyll)
Rating: NR
Sound: DTS-HD Mono Italian (Danza Macabra, Jekyll, They Have Changed Their Face, The Devil's Lover), DTS-HD Mono English (Castle of Blood), DTS-HD Mono English/Italian Hybrid (Danza Macabra)
Subtitles: English (Danza Macabra, Jekyll, They Have Changed Their Face, The Devil's Lover), English SDH (Castle of Blood)
Region Coding: Region Free (Castle of Blood - 4K UHD, Jekyll - Blu-ray), Region A (Castle of Blood, They Have Changed Their Face, The Devil's Lover),
Retail Price: $134.95

Danza Macabra (Castle of Blood): "When a cynical journalist accepts a wager that he won’t survive the night in a haunted castle, it will unlock an odyssey of sexual torment, undead vengeance and a dark seductress (the legendary Barbara Steele) who surrenders the gravest of pleasures." - synopsis provided by the distributor

Jekyll: "When a series of brutal attacks are committed by a lunatic named Edward Hyde, the investigation leads to molecular biologist Henry Jekyll. But have the doctor’s unorthodox experiments unlocked even greater horrors?" - synopsis provided by the distributor

They Have Changed Their Face: "A mid-level automotive company employee is summoned to the mountain villa of owner Giovanni Nosferatu (Adolfo Celi of Thunderball and Danger: Diabolik fame) only to discover a glossy netherworld where capitalism is the new vampirism, consumers are its unwitting victims and escape may be impossible." - synopsis provided by the distributor

The Devil's Lover: "When a trio of free-spirited young women – led by a smoldering Rosalba Neri of Lady Frankenstein fame – insist on spending the night in a castle rumored to be owned by the Devil himself, their cobweb-and-candelabra lark triggers a nightmare of lust, violence, vampirism and the ultimate ecstasy of Satanic seduction." - synopsis provided by the distributor

Video: 5/5 (Danza Macabra 4K UHD, Castle of Blood 4K UHD), 4.5/5 (Danza Macabra Blu-ray, Castle of Blood Blu-ray), 4.25/5 (The Devil's Lover), 3.5/5 (They Have Changed Their Face), 2/5 (Jekyll) 

Here’s the information provided about Castle of Blood's transfer, "Castle of Blood was restored and preserved in 2022 by Cinématographique Lyre in collaboration with Cinémathèque française, with the support of CNC, the 8th arrondissement Council (Paris), companies Artus Films, Lobster Films and Severin Films, and all contributors of the crowdfudning campaign held on the proarti platform, among whom Maria Barsanti, Vincent Garnier, Catherine Guilleret, Esperanza Lozano-Guillen, Anne and Romain Soubeyran.

The restoration work was performed in 4K at laboratories Eclair Classics / L'Immagine Ritrovata (Bologne - Paris) and L.E. Diapason (Paris), from the original 35mm image and sound negatives and original dupe negatives. Various 35mm prints served as reference. The restored version includes some seqeunces initially cut out when the film was first released."

Danza Macabra and Castle of Blood come on a 100 GB triple layer 4K UHD.

Disc Size: 90.9 GB

Feature: 47.5 GB (Danza Macabra - Italian Version), 41.7 GB (Castle of Blood - U.S. Version)

The source used for these transfers looks excellent; it is a massive improvement over all previous home video releases of Castle of Blood. Flesh tones look healthy, image clarity, contrast, black levels, and compression are solid, and the image always looks organic. That said, there is some print debris in Castle of Blood’s opening credits.

Danza Macabra (Italian Version) comes on a 50 GB dual layer Blu-ray.

Disc Size: 36.2 GB

Feature: 27.5 GB

This Blu-ray uses the same master that is used for the 4K UHD disc.

Castle of Blood (U.S Version) comes on a 50 GB dual layer Blu-ray.

Disc Size: 34.1 GB

Feature: 23.6 GB

This Blu-ray uses the same master that is used for the 4K UHD disc.

Here’s the information provided about Jekyll's transfer, "from RAI-TV masters".

Jekyll Episode 1 and 2 come on a 50 GB dual layer Blu-ray.

Disc Size: 42.7 GB

Feature: 20.3 GB (Episode 1), 20 GB (Episode 2)

Jekyll Episode 3 and 4 come on a 50 GB dual layer Blu-ray.

Disc Size: 35.9 GB

Feature: 17.2 GB (Episode 3), 16.6 GB (Episode 4)

This transfer obviously comes from an analog tape source. There are ghosting issues throughout, as well as some microblocking. That said, though the source looks good, this is as good as it is ever going to look.

Here’s the information provided about They Have Changed Their Face's transfer, "They Have Changed Their Face has been mastered and restored in 2K from the only known element in existence, a severely dye-faded 35mm postitive print. All best effort has been given to this presentation, and we hope it does not detract from your viewing experience."

They Have Changed Their Face comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.6 GB

Feature: 27.7 GB

The source used is in very good shape; any source debris is minimal and never intrusive. As mentioned in the disclaimer, there is color fading, and flesh tones are inconsistent. The image generally looks crisp, and the black levels at times are not as convincing as they should be. Fortunately, compression is very good, and there do not appear to be any issues related to digital noise reduction.

Here’s the information provided about The Devil's Lover's transfer, "The following presentation of The Devil's Lover is a new 4K scan from the 35mm original camera negative, within which were 12 frames of black around the hour mark. After consultation with several Euro-gothic historians and archivists, it was agreed that it would be best to retain the film's integrity by maintaining this anomaly within the new master."

The Devil's Lover comes on a 50 GB dual layer Blu-ray.

Disc Size: 28.4 GB

Feature: 22.4 GB

Besides the 12 frames of black around the hour mark, the bulk of this transfer looks excellent, and it is a massive upgrade over the Mya Communications 2009 DVD release. Flesh tones look healthy, colors look correct, image clarity and black levels are strong, compression is solid, and the image looks organic.

Audio: 4.5/5 (DTS-HD Mono Italian - Danza Macabra, DTS-HD Mono English/Italian Hybrid - Danza Macabra, DTS-HD Mono English - Castle of Blood), 4/5 (DTS-HD Mono Italian - They Have Changed Their Face, DTS-HD Mono Italian - The Devil's Lover), 2.5/5 (DTS-HD Mono Italian - Jekyll)

Danza Macabra comes with two audio options, a DTS-HD mono mix in Italian and a DTS-HD mono English/Italian hybrid track. Included are removable English subtitles for the Italian language track, and a second removable English subtitle track when watching the hybrid track for Italian language dialog/text.

Castle of Blood comes with one audio option, a DTS-HD mono mix in English with removable English SDH.

All three tracks for Danza Macabra and Castle of Blood are in great shape. Dialog comes through clearly, everything sounds balanced, ambient sounds are well-represented, and the score sounds robust.

Jeykll comes with one audio option, a DTS-HD mono mix in Italian with removable English subtitles. Dialog comes through clearly enough to follow, and range-wise, these audio tracks leave a lot to be desired.

They Have Changed Their Face comes with one audio option, a DTS-HD mono mix in Italian with removable English subtitles. The audio is in good shape. Dialog comes through clearly, everything sounds balanced, and range-wise, this track sounds very good.

The Devil’s Lover comes with one audio option, a DTS-HD mono mix in Italian with removable English subtitles. The audio is in good shape. Dialog comes through clearly, everything sounds balanced, and range-wise, this track sounds very good.

Extras:

Extras on the 4K UHD disc with Castle of Blood include a TV spot Castle of Blood/ Hercules in the Haunted World double feature(1 minute 4 seconds, DTS-HD mono English, no subtitles), a theatrical trailer (1 minute 38 seconds, DTS-HD mono English, no subtitles), and an audio commentary with Rod Barnett Of NaschyCast And The Bloody Pit, And Adrian Smith for Danza Macabra version.

Extras on Blu-ray disc with Danza Macabra include an interview with author Stephen Thrower titled Exploring the Castle of Blood (44 minutes 27 seconds, Dolby Digital stereo English, no subtitles), a scene select audio commentary with actress Barbara Steele and Russ Lanier (17 minutes 12 seconds, Dolby Digital stereo English, no subtitles), and an audio commentary with Rod Barnett Of NaschyCast And The Bloody Pit, And Adrian Smith for Danza Macabra version.

Extras on Blu-ray disc with Castle of Blood include a TV spot Castle of Blood/ Hercules in the Haunted World double feature(1 minute 4 seconds, DTS-HD mono English, no subtitles), a theatrical trailer (1 minute 38 seconds, DTS-HD mono English, no subtitles), an archival interview with director Antonio Margheriti titled Antonio Margheriti Remembers Castle of Blood and Barbara Steele (5 minutes 10 seconds, Dolby Digital stereo English with non-removable English subtitles), a locations featurette (22 minutes 23 seconds, Dolby Digital stereo with removable English for Italian film clips), a video essay film critic Rachael Nisbet titled Enigmatic Elegance: Unveiling the Haunting Legacy of Barbara Steele in the Italian Gothic (30 minutes 35 seconds, Dolby Digital stereo English, no subtitles), and an interview with Edoardo Margheriti, son of director Antonio Margheriti titled The Director Who Didn’t Like Blood (13 minutes 44 seconds, Dolby Digital stereo Italian with removable English subtitles).

Extras for Jeykll Blu-ray disc one include an interview with actor Giuliano Disperati titled Dr. Jekyll And Mr. Albertazzi (7 minutes 24 seconds, Dolby Digital stereo Italian with removable English subtitles), and an interview with set designer Emanuele Taglietti titled Building The World of Jekyll (9 minutes 13 seconds, Dolby Digital stereo Italian with removable English subtitles).

Extras for Jeykll Blu-ray disc two include a video essay by Joseph Dwyer titled The Double Spiral Staircase of Jekyll and Hyde (14 minutes 42 seconds, Dolby Digital stereo English, no subtitles). 

Extras for They Have Changed Their Face include short films directed Corrado Farina: The Son of Dracula (20 minutes 34 seconds, 1.33:1 aspect ratio, Dolby Digital mono Italian with removable English subtitles), Ring Around the Rosie (11 minutes 14 seconds, 1.33:1 aspect ratio, Dolby Digital mono Italian with removable English subtitles), The Canticle of the Creatures (5 minutes 19 seconds, 1.33:1 aspect ratio, Dolby Digital mono Italian with removable English subtitles), a collection of documentaries directed by Corrado Farina (84 minutes 16 seconds, 1.33:1 aspect ratio, Dolby Digital mono Italian with removable English subtitles), commercials directed by Corrado Farina (9 minutes 32 seconds, 1.33:1 aspect ratio, Dolby Digital mono Italian with removable English subtitles), Outtakes of De Sade (6 minutes 14 seconds, no sound, with text information about this footage), an interview with actor Giuliano Disperati and editor/screenwriter Giulio Berruti titled Bloodsucking Capitalists (30 minutes 59 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with film critic Alberto Farina, son of director Corrado Farina titled The Farina Method (43 minutes 14 seconds, Dolby Digital stereo Italian with removable English subtitles), an audio commentary with director Corrado Farina moderated by Alberto Farina in Italian with removable English subtitles, and an audio commentary with Kat Ellinger, author of Daughters of Darkness.

Extras for The Devil's Lover include a video essay by Alexandra Heller-Nicholas titled Lady of The Night: The Feminism of Rosalba Neri (16 minutes 44 seconds, Dolby Digital stereo English, no subtitles), an interview with actor Robert Woods titled Out of the Woods (25 minutes 21 seconds, Dolby Digital stereo English, no subtitles), and an audio commentary with Annie Rose Malamet, film scholar and host of Girls, Guts, Giallo.

A CD with The Devil’s Lover’s 12-song score and cardboard insert with track listing.

Summary:

Danza Macabra (Castle of Blood): Directed by Antonio Margheriti, whose notable films are The Virgin of Nuremberg, The Long Hair of Death, and Seven Deaths in the Cat's Eyes. Before Antonio Margheriti made a name for himself in the gothic horror genre, he was the premier Italian filmmaker working in the sci-fi genre, directing Assignment: Outer Space, Battle of the Worlds, and the Gamma One Quadrilogy (The Wild, Wild Planet, The War of the Planets, War Between the Planets, and Snow Devils).

The narrative revolves around a man who takes a bet on the night in a haunted castle on All Hallow’s Eve. Will his night be uneventful, or will something more sinister be waiting for him?

Sergio Corbucci (Django) was the original director of Danza Macabra (Castle of Blood), and Antonio Margheriti took over a week into filming. Seven years later, Antonio Margheriti would make Web of the Spider, a remake of Danza Macabra (Castle of Blood).

Though Edgar Allen Poe appears in Danza Macabra (Castle of Blood) as a character and his name is listed as one of the writers, no story written by him is connected to Danza Macabra (Castle of Blood). That said, it is easy to see how the writings of Edgar Allen Poe influenced Danza Macabra (Castle of Blood) and Gothic horror cinema in general.

The thing that is synonymous with the best Gothic horror films is their ability to create atmosphere, and in this regard, Danza Macabra (Castle of Blood) delivers in spades. After a brief set in which a bet is made, there is a 13-minute stretch where the only words spoken are to himself while the protagonist walks through the castle. The sequence is a perfect example of how to build tension, and it does a phenomenal job laying the foundation for what follows.

The main attraction of Danza Macabra (Castle of Blood) is Barbara Steele's (Nightmare Castle) portrayal of Elisabeth Blackwood, a ghost who haunts the castle. She delivers a mesmerizing performance that dominates every moment she is in. That said, the rest of the cast are very good in their respective roles.

From a production standpoint, Danza Macabra (Castle of Blood) is a film where everything perfectly falls into place. The narrative does a great job building momentum towards an exclamation mark finale. Other strengths are Antonio Margheriti's solid direction, stylish cinematography, and Riz Ortolani’s (Cannibal Holocaust) exceptional score, which does a phenomenal job reinforcing the mood. Ultimately, Danza Macabra (Castle of Blood) is one of the high-water marks of Italian Gothic horror cinema.

Jekyll: Adapted from Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde, Jekyll is arguably one of the most inventive takes on this source material.

Jekyll’s cinematographer was Stelvio Massi, whose other notable credits as a cinematographer are Sartana's Here, Trade Your Pistol for a Coffin, The Case of the Bloody Iris, and Giovannona Long-Thigh. He would go on to become a director, whose notable films are Emergency Squad, Five Women for the Killer, and Convoy Busters.

The narrative functions more like a detective story, with the main character being a lawyer who looks into the connection between a scientist named Henry Jekyll and his student Edward Hyde. Everything begins because of an incident where a deranged man tries to run over a girl, and before he is caught, he flees the scene of the crime.

Jekyll spreads its story over four episodes that range from 59 to 72 minutes in length. Also, each episode recaps what happened in the previous episodes. When it comes to pacing, there are far too many stretches where things drag. This series would have benefited from tightening up its narrative by cutting its running time in half and removing several moments that could be removed that do not enhance the story at hand.

The Strange Case of Dr. Jekyll and Mr. Hyde is a revered Gothic novella that has had numerous adaptations, many of which have left their own imprint on the source material. That said, Jekyll is best described as an interesting curiosity that most will find a chore to get through.

They Have Changed Their Face: Directed by Corrado Farina, who would only direct one other feature film, Baba Yaga.

The narrative revolves around a man who works for a corporation that makes cars. One day, he is invited to stay at a villa in the country that is owned by his boss. Shortly after his arrival, he starts to see that things are not what they appear to be and that his new promotion comes with a hefty price.

Though They Have Changed Their Face is a film filled with allegories, notably a cautionary tale about capitalism. It is hard not to see its similarities to Bram Stoker's Dracula; they both have protagonists who go to stay at a place that the locals are afraid of. And instead of vampires, They Have Changed Their Face has corporate board members who are best described as blood-sucking fiends. Another connection is that the protagonist's boss’ name is Giovanni Nosferatu, and F. W. Murnau's Nosferatu was an unauthorized adaptation of Bram Stoker’s Dracula.

Having only directed two feature films, it is easy to evaluate the legacy of Corrado Farina. And though I saw Baba Yaga first, it is easy to see how They Have Changed Their Face connects with that film visually. Corrado Farina’s background in comics infuses both of these films' visual styles.

All around, the entire cast is fantastic in their respective roles, especially Adolfo Celi (Danger: Diabolik) in the role of Giovanni Nosferatu. Despite his limited screen time and minimal dialog, he delivers a commanding performance that looms large. Not to be overlooked is Giuliano Esperati's (Jekyll) portrayal of Alberto Valle, the protagonist, who is given a job offer he can’t refuse. Another notable performance is by Geraldine Hooper (Deep Red) in the role of Corinna, Giovanni Nosferatu’s assistant. Her character serves as a guide for Alberto Valle at the villa.

From a production standpoint, They Have Changed Their Face is a film that exceeds the sum of its parts. The premise is well executed, and a deliberate, paced narrative does a great job building towards a very satisfying conclusion. And though there are no really scary moments, there are an abundance of eerie moments, like those related to cars that drive around the villa chasing people. The score mostly uses music cues that were recycled from composer Amedeo Tommasi's own score that he composed for Thomas and the Bewitched. Ultimately, They Have Changed Their Face is a well-made melodrama that is overflowing with atmosphere and social commentary.

The Devil's Lover: Director Paolo Lombardo only directed two other films, one of which he co-directed with Piero Regnoli (The Playgirls and the Vampire). The Devil’s Lover was produced by Dick Randall, a prolific film producer whose diverse filmography includes French Sex Murders, The Girl in Room 2a, The Clones of Bruce Lee, Challenge of the Tiger, and For Y’ur Height Only.

The narrative revolves around a trio of friends visiting a castle supposedly inhabited by the devil. While being shown around the castle, they convince the caretaker to let them stay the night. Later that night, one of the women, while she sleeps, reconnects with one of her past lives, when she was the devil’s lover.

There is something about Italian Gothic horror films in color that does not match their black-and-white counterparts. And though a film like The Devil’s Lover has most of the core elements, like a creepy castle as its main location and a bevy of attractive women in peril, It is clear that The Devil’s Lover is yet another example of an Italian Gothic horror film in color that does not work as well as its black-and-white counterpart.

You know it is going to be a rough ride when the main attraction, Rosalba Neri (Lady Frankenstein), spends all but one scene fully clothed, and when she does disrobe, she is quickly covered by the devil’s cape, which he drapes over her before they make love. That said, at least there is a moment where her character wears a see-through nightgown.

When it comes to performances, Edmund Purdom (The Fifth Cord) in the role of the devil delivers the most memorable performance. Another performance of note is that of Rosalba Neri, who does a great job in the role of Helga despite her character being severely underdeveloped. That said, the scenes in which Edmund Purdom and Rosalba Neri appear together are the most arresting moments.

The Devil’s Lover’s glaring weakness is its director, whose lack of experience is immediately evident. Visually, The Devil’s Lover is a pedestrian affair that is devoid of any visual style. And if there was any moment that comes close to being slightly memorable, this would be the finale, where a woman is tortured by Helga while the devil watches.

Another area where The Devil’s Lover is lacking is its lethargic pacing and inability to build tension. The narrative is mostly told via a flashback and a nightmare that Helga experiences while she sleeps in the castle, which she is staying in with her two friends. That said, an interesting plot device that crops up throughout is a character who is a pretty good sword fighter, and he fearlessly takes on all challengers. Ultimately, The Devil’s Lover is a dull film that would be all together forgettable if it weren’t for the performances of its two leads, Edmund Purdom and Rosalba Neri.

Though the films that make up Danza Macabra Volume Two: The Italian Gothic Collection vary in quality when it comes to their audio/video presentations and wealth of extras, Severin Films has done a great job. Recommended.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a VLC player and lossless PNGs.

                                                              4K UHD screenshots.

                                                              Blu-ray screenshots.
 

Written by Michael Den Boer