High Tension: Four Films by Lamberto Bava: The Prince of Terror/The Man Who Didn't Want to Die/School of Fear/Eye Witness – Severin Films (Blu-ray)

Release Date: Italy, 1993
Director: Lamberto Bava (All Films)
Cast: Martine Brochard, Barbara Cupisti, Tomas Arana, Carole André, David Brandon, Lino Salemme, Wanja Mary Sellers, Stefano Molinari, Virginia Bryant, Antonella Antinori, Jacques Sernas, Daria Nicolodi

Release Date: August 26th, 2025
Approximate Running Times: 91 Minutes 50 Seconds (The Prince of Terror), 94 Minutes 59 Seconds (The Man Who Didn't Want to Die), 100 Minutes 17 Seconds (School of Fear), 99 Minutes 53 Seconds (Eye Witness)
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC (All Films)
Rating: NR
Sound: DTS-HD Mono Italian (All Films), DTS-HD Mono English (All Films)
Subtitles: English (All Films), English SDH (All Films)
Region Coding: Region Free
Retail Price: $104.95

The Prince of Terror: "For the first film in the series, director Lamberto Bava and screenwriter Dardano Sacchetti (THE BEYOND, DEMONS) delivered “a wild ride” (Euro Fever) that’s part home-invasion thriller, part supernatural shocker and one totally over-the-top gorehound blast: ‘Prince of Terror’ Vincent Omen (Tomas Arana of THE CHURCH and THE SECT) is cinema’s top horror director. But when a disgruntled screenwriter – a no-holds-barred performance by David Brandon of STAGEFRIGHT – attacks Omen and his family in their secluded villa, it will unleash a grisly maelstrom of graphic brutality courtesy of special effects maestro Sergio Stivaletti (THE MASK OF SATAN, CEMETERY MAN).” – Synopsis provided by the distributor

The Man Who Didn't Want to Die: "In the early ‘70s, the legendary Mario Bava began adapting a savage short story by poliziotteschi novelist Giorgio Scerbanenco (CALIBER 9) for a film project. When Lamberto Bava eventually directed it in 1989 – from a screenplay by Gianfranco Clerici (HOUSE ON THE EDGE OF THE PARK, THE NEW YORK RIPPER) – Italian TV refused to broadcast the violent thriller for nearly 20 years: After an art heist in a luxury villa goes horrifically wrong, a gang member (Gino Concari of Andrea Bianchi’s MASSACRE) left for dead will hunt down his accomplices in a mission of brutal revenge.” – Synopsis provided by the distributor

School of Fear: "In the most unsettlingly creepy film of the quartet, producer/director Lamberto Bava – along with screenwriters Roberto Gandus (MACABRE, PAPAYA: LOVE GODDESS OF THE CANNIBALS), Dardano Sacchetti (THE PSYCHIC, ZOMBIE), Giorgio Stegani (CANNIBAL HOLOCAUST, EYE WITNESS) and composer Simon Boswell (DEMONS 2, SANTA SANGRE) – present a private academy where the curriculum is defined by unadulterated evil: When an idealistic young teacher (Alessandra Acciai of Luigi Cozzi’s THE BLACK CAT) arrives mid-semester at an exclusive school, she’ll anger the stern principal (Italian horror icon Daria Nicolodi), unlock a nightmare of trauma and discover that child’s play can be the deadliest game of all.” – Synopsis provided by the distributor

Eye Witness: "For his final film in the High Tension series, director Lamberto Bava crafted a unique twist on the giallo genre with a screenplay by Giorgio Stegani (SCHOOL OF FEAR, CANNIBAL HOLOCAUST) and Massimo De Rita (BLASTFIGHTER, STREET LAW) from a story by Bava, a haunting score by Simon Boswell (PHENOMENA, STAGEFRIGHT) and an outstanding performance by Barbara Cupisti of CEMETERY MAN, THE CHURCH and OPERA fame: When a blind woman (Cupisti) is the only witness to a murder, the cops – and the killer – set their sights on ending her ordeal forever.” – Synopsis provided by the distributor

Video: 4.5/5 (All Films)

Here’s the information given about the transfer, “now scanned in 2K from the original camera negative."

The Prince of Terror comes on a 50 GB dual layer Blu-ray.

Disc Size: 34.3 GB

Feature: 27.7 GB

Here’s the information given about the transfer, “now scanned in 2K from the original camera negative."

The Man Who Didn't Want to Die comes on a 50 GB dual layer Blu-ray.

Disc Size: 35.7 GB

Feature: 28.5 GB

Here’s the information given about the transfer, “now scanned in 2K from the original camera negative."

School of Fear comes on a 50 GB dual layer Blu-ray.

Disc Size: 41.4 GB

Feature: 30 GB

Here’s the information given about the transfer, “now scanned in 2K from the original camera negative."

Eye Witness comes on a 50 GB dual layer Blu-ray.

Disc Size: 35.7 GB

Feature: 30.2 GB

All of the transfers are comparable; their sources look excellent. Flesh tones look healthy, colors are nicely saturated, image clarity, black levels, and compression are solid, and the image retains an organic appearance.

Audio: 4.25/5 (All Audio Tracks Except DTS-HD Mono English - The Man Who Didn't Want to Die), 4/5 (DTS-HD Mono English - The Man Who Didn't Want to Die)

Each film comes with two audio options, a DTS-HD mono mix in Itallian and a DTS-HD mono mix in English. All tracks are comparable, except The Man Who Didn't Want to Die’s Italian-language track sounds more robust than its English-language track. All tracks sound clean, dialogue always comes through clearly and everything sounds balanced. Included are removable English subtitles for the Italian-language track and removable English SDH for the English-language track.

Extras:

Extras for The Prince of Terror include an interview with director Lamberto Bava titled The Adventure of Anfri; he discusses the High Tension TV series and Anfri production company (16 minutes 46 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with Lamberto Bava titled We Call Him Maestro; he discusses The Prince of Terror (17 minutes 52 seconds, Dolby Digital stereo Italian with removable English subtitles), and an audio commentary with Mondo Digital's Nathaniel Thompson and Troy Howarth, author of So Deadly, So Perverse: 50 Years Of Italian Giallo Films.

Extras for The Man Who Didn't Want to Die include an interview with screenwriter Dardano Sacchetti titled Stephen King Italian Style (15 minutes 24 seconds, Dolby Digital stereo Italian with removable English subtitles) and an interview with Lamberto Bava titled The Scerbanenco Touch; he discusses The Man Who Didn't Want to Die (22 minutes 17 seconds, Dolby Digital stereo Italian with removable English subtitles).

Extras for School of Fear include an interview with screenwriter Roberto Gandus titled Play The Game (9 minutes 45 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with composer Simon Boswell titled When Bava Met Boswell (31 minutes 56 seconds, Dolby Digital stereo English, no subtitles), an interview with Lamberto Bava titled The Tale of Evil Children; he discusses School of Fear (18 minutes 15 seconds, Dolby Digital stereo Italian with removable English subtitles), a 15-track compilation CD of Simon Boswell’s scores for Lamberto Bava films, and an insert with the track listing.

Extras for Eye Witness include an interview with actress Barbara Cupisti titled Love is Blind (12 minutes 26 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with Lamberto Bava titled The Last Giallo; he discusses Eye Witness (15 minutes 42 seconds, Dolby Digital stereo Italian with removable English subtitles), and an audio commentary with Nathaniel Thompson and Troy Howarth.

Summary:

Lamberto Bava directed The Prince of Terror, The Man Who Didn't Want to Die, School of Fear, and Eye Witness; they are part of a TV series called High Tension. Notable films directed by Lamberto Bava are Macabre, A Blade in the Dark, Demons, and Demons 2.

The Prince of Terror: A horror filmmaker and his family, who live in an isolated villa, are terrorized by intruders seeking revenge against them.

The Prince of Terror opens with a clever moment of misdirection, a scene where a woman is being chased by a zombie, and when the camera pulls back, it's revealed that a movie is being made. This sequence does an excellent job foreshadowing what is yet to come for a film that is all about deception. The opening setup also establishes the protagonists and other key characters.

When it comes to the performances, they suit the story really well. Tomas Arana (Body Puzzle) is cast in the role of the protagonist, a horror filmmaker named Vincent Omen. The most memorable performance is David Brandon (StageFright), who portrays Paul Hilary, the screenwriter behind all of Vincent Omen’s films.

Lamberto Bava made a career out of films that are primarily in a central location, and the villa in The Prince of Terror makes for a perfect place for a killer to stalk their prey. Not only is the villa isolated, but it also has a ridiculous number of windows, giving someone on the outside a clear view of the inside of the house. While the villa does not offer Vincent and his family many places to conceal themselves, it does make for a very cinematic experience.

The premise is well-executed, and the narrative does a superb job building momentum with a series of tense moments. Vincent’s past comes back to haunt him; the intruders are using props and elements from his films. When it comes to carnage, most of it is offscreen, and the most gruesome moment is a character dying by a golf ball. Ultimately, The Prince of Terror is a well-crafted horror film whose finale offers up some supernatural undertones.

The Man Who Didn't Want to Die: Thieves robbing art and antiquities encounter trouble when one of them is gravely wounded. Fearing exposure, they do not take him to the hospital and instead dump his body. When they learn that someone discovered his body and took him to the hospital, they decide they must finish him off before he talks.

The origins of The Man Who Didn't Want to Die are more interesting than its actual execution. The Man Who Didn't Want to Die is an adaptation of Giorgio Scerbanenco’s (Milano calibro 9) story of the same name. According to Lamberto Bava, his father Mario originally was going to make a film adaptation of The Man Who Didn't Want to Die, but the production company went out of business.

Despite a strong opening setup and a solid final act, the narrative's lack of tension and overall ability to sustain momentum undermine any of its strengths. Another knock against the narrative is its overreliance on exposition. While things pick up considerably in the last 25 minutes, it is too little too late by then.

The acting is best described as serviceable. Gino Concari is cast in the role of Giannetto, the man who didn't want to die. His character spends most of his screentime in a hospital bed, which is good for the film since he’s easily the weakest link. The most notable cast member is Martine Brochard (Eyeball), who portrays Madame Jaclaud; her character arranges for the selling of stolen art and antiques.

Although Lamberto Bava has ventured outside of horror and fantasy, it is these two genres where he’s found his biggest success. With The Man Who Didn't Want to Die, Lamberto Bava makes a rare foray into the Poliziotteschi genre. The result is an uneven film that at its best delivers some tense moments, while the majority of the time it just plods along. Ultimately, The Man Who Didn't Want to Die is not one of Lamberto Bava’s better films and is only recommended for completists.

School of Fear: A young woman with a troubled past finds a teaching job at a school where her predecessor died under sinister circumstances.

While not directly an homage to the cinema of Mario Bava, School of Fear takes on the evil child character that played a significant role in several of his films. What drives the narrative are two things: what are the children hiding and why are the games they play so deadly? Opposite of the children is a young woman/teacher who’s never recovered from a traumatic event from her childhood.

The cast is predominantly made up of child actors who all more than fulfill the role of a Bad Seed-like child. When it comes to the adult cast, their performances suit the story well. The most surprising performance is Alessandra Acciai (The Black Cat) in the role of Diana Berti, the young woman with a traumatic past. The most notable cast member is Daria Nicolodi (Phenomina), who portrays the headmistress of the school.

While the opening setup does a solid job of setting things up, the narrative is too slow-moving and never really creates any momentum. An area where the narrative did deliver is its use of flashbacks, which reveal the extent of the trauma inflicted on Diana. Visually, School of Fear is a beautifully photographed film that has a handful of striking moments. Ultimately, for all of its shortcomings, one thing we can say about School of Fear is that it does not lack atmosphere.

Eye Witness: A blind woman witnesses a murder. When the killer discovers there is a witness, they set out to silence them.

It is a shame that Lamberto Bava did not make more gialli; it is a genre that he excelled at the most. Although Eye Witness employs many familiar giallo tropes, it does not try to conceal the killer's identity. That said, what drives the narrative is the cat-and-mouse game between a blind witness and the killer, where the latter has to go to great extremes despite the former's handicap.

Most of the performances exceed expectations, especially Barbara Cupisti’s (Opera) portrayal of Elisa, the blind witness. She delivers a remarkable performance that is always convincing. The weakest performance is Stefano Davanzati (The Final Executioner) in the role of police commissioner Marra.

When it comes to one of the staples of the giallo genre, the murder set pieces, Eye Witness delivers several stylish kills. The well-executed narrative is overflowing with tension and it is very effective at building momentum to its climactic moment of truth. Ultimately, Eye Witness is Lamberto Bava’s last great film and a solid giallo that fans of the genre should thoroughly enjoy.

High Tension: Four Films by Lamberto Bava is a solid release from Severin Films that gives each film a strong audio/video presentation and informative extras. Recommended.

Written by Michael Den Boer

The Black Belly of the Tarantula: Limited Edition – Celluloid Dreams (4k UHD/Blu-ray Combo)

Theatrical Release Date: Italy/France, 1971
Director: Paolo Cavara
Writers: Marcello Danon, Lucile Laks
Cast: Giancarlo Giannini, Claudine Auger, Barbara Bouchet, Rossella Falk, Silvano Tranquilli, Annabella Incontrera, Barbara Bach, Stefania Sandrelli, Giancarlo Prete

Release Date: August 20th, 2026
Approximate Running Times: 97 Minutes 53 Seconds (Domestic Cut), 87 Minutes 58 Seconds (International Cut)
Aspect Ratio: 1.37:1 Aspect Ratio / 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 (Domestic Cut), 1.37:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC (Both Versions), 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Versions)
Rating: NR
Sound: DTS-HD Mono Italian Remastered (Both Versions), DTS-HD Mono Italian Unrestored (Both Versions), DTS-HD Mono English (Both Versions)
Subtitles: English (Both Versions), English SDH (Both Versions)
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $65.95

"A serial killer has Rome on edge! Paralyzing his victims, then proceeding to slice them open before their own eyes, this sadistic maniac must be stopped! Conflicted, burned-out, and feeling overwhelmed, Inspector Tellini must find the madman before he claims another victim in a case that edges closer and closer to his personal life." - synopsis provided by the distributor

Video: 5/5 (4K UHD, Blu-ray)

Here’s the information provided about this release's transfer, “Scanning of the original 4-perf 35mm camera negative in 4K resolution was completed by VIGGO in Rome.

Lucas Henkel and Guido Henkel performed the color grading and restoration entirely in-house at Celluloid Dreams. Thousands of instances of dirt, debris, scratches, picture instability, torn frames, water damage, and other instances of film wear were repaired or removed through a combination of digital restoration tools and techniques. Celluloid Dreams is using Phoenix Restoration Tools by Filmworks.

The HDR grade for this release was prepared referencing a theatrical release positive print that was also located and scanned for this restoration. Further, additional fade corrections were performed in reference to a Japanese VHS-sourced print telecine that was digitized using a Domesday Duplicator. Whilst shot-by-shot corrections were applied to match the original photochemical timing, minor liberties were taken on occasion to help create a more balanced and cohesive viewing experience between shots, scenes, and reels.

For archival purposes, alongside the restored negative master, an uncorrected positive print scan is also included as the “Grindhouse Version,” purely as an academic and archival oddity.

The international export cut was conformed in reference to an incomplete English CRT element transfer provided by VIGGO and a Spanish standard-definition transfer of an intermediate element. In the process, numerous previously missing frames have been restored.

All original film negative and intermediate elements used in this restoration were provided by VIGGO, Rome.”

The Black Belly of the Tarantula comes on a 100 GB triple layer 4K UHD.

Disc Size: 89.1 GB

Feature: 46.9 GB (1.85:1 Aspect Ratio), 39.7 GB (1.37:1 Aspect Ratio)

The included booklet gives a detailed overview of the source and its restoration. That said, the source looks outstanding; it's a massive improvement over all previous home video releases. Flesh tones look healthy, colors are nicely saturated, image clarity, black levels, contrast, and compression are solid, and the image always looks organic.

The Black Belly of the Tarantula comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.3 GB

Feature: 24.9 GB (1.37:1 Aspect Ratio - Domestic Cut), 19.1 GB (1.37:1 Aspect Ratio - International Cut)

The Blu-ray uses the same source as the 4K UHD does for its transfer.

The Black Belly of the Tarantula comes on a 50 GB dual layer Blu-ray.

Disc Size: 34.9 GB

Feature: 25 GB (1.85:1 Aspect Ratio - Domestic Cut), 19.1 GB (1.85:1 Aspect Ratio - International Cut)

The Blu-ray uses the same source as the 4K UHD does for its transfer.

Audio: 5/5 (DTS-HD Mono Italian Remastered, DTS-HD Mono English), 3.5/5 (DTS-HD Mono Italian Unrestored)

This release comes with three audio options, a remastered DTS-HD mono mix in Italian, an unrestored DTS-HD mono mix in Italian, and a DTS-HD mono mix in English. The audio, like the video, has undergone extensive restoration, and the inclusion of the unrestored track showcases just how much work was done. The remastered Italian and English-language track sounds excellent. Dialogue always comes through clearly, everything sounds balanced, and ambient sounds and the score are well-represented. That said, the Italian-language tracks sound slightly fuller than the English-language track. Included are removable English subtitles for the Italian language track and removable English SDH for the English language track. Language tracks and subtitles can only be changed via the setup menu and not during playback.

Extras:

Extras on the 4K UHD disc include an audio commentary with film critic Guido Henkel for the domestic cut.

Extras on Blu-ray disc one include an audio commentary with Henkel for the domestic cut.

Extras on Blu-ray disc two include an audio commentary with Henkel for the domestic cut.

Extras on Blu-ray disc three include an image gallery (56 images—posters/lobby cards/publicity photos/miscellaneous/newspaper articles/adverts), an English-language theatrical trailer (1 minute 56 seconds, DTS-HD mono English, no subtitles), a German-language theatrical trailer (3 minutes 34 seconds, DTS-HD mono German with non-removable English subtitles), a U.S. TV spot with The Weekend Murders (1 minute 3 seconds, DTS-HD mono English, no subtitles), a ‘Grindhouse Version’ of the U.S. TV spot with The Weekend Murders (1 minute 2 seconds, DTS-HD mono English, no subtitles), censored Japanese VHS clips (24 seconds, DTS-HD mono with text in Japanese, no English subtitles), an archival interview with director Paolo Cavara's son, Pietro Cavara (4 minutes 54 seconds, DTS-HD stereo Italian with non-removable English subtitles), an archival interview with producer Marcello Danon's son, Lorenzo Danon (16 minutes 6 seconds, DTS-HD stereo Italian with non-removable English subtitles), an interview with Pietro Cavara titled The World of Paolo Cavara (22 minutes 16 seconds, DTS-HD stereo Italian with non-removable English subtitles), an interview with soprano Edda Dell'Orso titled Made-up Words (25 minutes 12 seconds, DTS-HD stereo Italian with non-removable English subtitles), a video essay by Andy Marshall-Roberts titled What a Tangled Web We Weave: The Prestige of Paolo Cavara’s The Black Belly of the Tarantula (20 minutes 50 seconds, DTS-HD stereo English, no subtitles), a video essay by Howard S. Berger titled The Uncanny Peephole (22 minutes 35 seconds, DTS-HD stereo English, no subtitles), and a ‘Grindhouse Version’ of The Black Belly of the Tarantula from 35mm theatrical print (84 minutes 57 seconds, 1.37:1 aspect ratio, 1080 Progressive, DTS-HD mono Italian with non-removable English subtitles).

Other extras include reversible cover art, a slipcase, a set of reprints of 16 publicity photographs from the original American press materials, a set of 6 beautifully restored 12″x8.25″ color reproductions of the original Italian fotobuste, and an 80-page book with cast & crew information, an essay titled Spinning a Different Kind of Web with The Black Belly of the Tarantula written by Jim Branscome, an essay titled Inside The Black Belly of the Tarantula written by JA Kerswell, a collection of Then/Now location photographs by Andrea Girolami titled Revisiting the Belly of the Beast!, and information about the restoration.

Summary:

Paola Cavara directed The Black Belly of the Tarantula. He’s known for Mondo Cane, Women of the World, The Wild Eye, and Plot of Fear. 

Maria arrives home one day to find her jealous husband holding photos of her and another man having an affair. After hitting her a few times, he leaves the apartment in a rage. Later that evening, Maria is murdered, and the police soon suspect her hot-tempered husband. Inspector Tellini is assigned to the case and every time he finds a lead, they end up dying. Will Inspector Telling uncover the killers’ identity before they destroy all the evidence and disappear forever?

While there had been Italian thrillers before Dario Argento’s The Bird With the Crystal Plumage, there’s no denying it is a seminal film that spanned countless imitations. In the early 1970s, after the success of The Bird With the Crystal Plumage, there was an onslaught on movies that featured an animal in their title. That said, Dario Argento’s influences aside, The Black Belly of the Tarantula feels more like an extension of Mario Bava’s Blood and Black Lace.

Paolo Cavara started his career directing or co-directing the highly controversial documentaries Mono Cane and Women of the World. Where his collaborators Gualtiero Jacopetti and Franco Prosperi would continue to make Mondo films, Paolo Cavara would venture out in feature films. Although Paolo Cavara directed in a variety of genres, he’s most known for his two gialli, The Black Belly of the Tarantula and Plot of Fear.

For this release, The Black Belly of the Tarantula can finally be seen in its intended 1.37:1 aspect ratio, and when compared to its alternate 1.85:1 aspect ratio, the differences are striking. Where 1.85:1 feels too cramped, The Black Belly of the Tarantula’s use of wide-angle lenses really comes out in 1.37:1, enhancing a feeling of claustrophobia. That said, Paolo Cavara’s direction is exemplary; he fills every inch of the screen with compositions that heighten the mood.

When it comes to the performances, the entire cast are excellent in their roles, especially Giancarlo Giannini's (The Seduction of Mimi) portrayal of Inspector Tellini. His character's doubts about his ability as an inspector and willingness to walk away are what make his performance so compelling. Where most gialli feature amateurs who solve the murders, The Black Belly of the Tarantula is a rare example where law enforcement drives the narrative.

Giancarlo Giannini is surrounded by a cast of whos-whos of 1970s Italian genre cinema: Claudine Auger (Thunderball), Annabella Incontrera (The Case of the Bloody Iris), Silvano Tranquilli (The Bloodstained Butterfly), Barbara Bach (Short Night of Glass Dolls), and Barbara Bouchet (Don’t Torture a Duckling). Though Barbara Bouchet only has limited screentime (her character is the first victim), she makes the most of her time. Another performance of note is Stefania Sandrelli (I Knew Her Well), who portrays Inspector Tellini’s wife.

While the murder set pieces are a main draw of the giallo, the best and most memorable have well-crafted narratives that quickly grab you and always keep you guessing. That said, The Black Belly of the Tarantula is incredibly successful in both of these regards. Another strength of the narrative is how well it conceals the killer's identity and how it brings everything into focus with the revelation of why they did it.

The animal named in the film's title, The Black Belly of the Tarantula, ties into the method the killer uses to paralyze its victims. The killer uses a needle as the base of the victim's neck to paralyze them and then they flip them open and cut their stomach open. Out of all the ways killers have disposed of their victims, this method of killing is one of the most original.

When discussing The Black Belly of the Tarantula, one must not overlook Ennio Morricone's extraordinary score. While Ennio Morricone had delivered so many outstanding scores, his score for The Black Belly of the Tarantula is among his best works. Ultimately, The Black Belly of the Tarantula is an intense thriller that’s overflowing with atmosphere, making it one of the high-water marks of 1970s giallo cinema.

The Black Belly of the Tarantula gets a spectacular release from Celluloid Dreams that comes with a solid audio/video presentation and a wealth of insightful extras. Highly 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 MPC-HC player and lossless PNGs.

Written by Michael Den Boer