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Italian Gothic Horror Films, 1957-1969
The "Gothic" style was a key trend in Italian cinema of the 1950s and 1960s because of its peculiar, often strikingly original approach to the horror genre. These films portrayed Gothic staples in a stylish and idiosyncratic way, and took a daring approach to the supernatural and to eroticism, with the presence of menacing yet seductive female witches, vampires and ghosts. Thanks to such filmmakers as Mario Bava ( Black Sunday ), Riccardo Freda ( The Horrible Dr. Hichcock ), and Antonio Margheriti ( Castle of Blood ), as well the iconic presence of actress Barbara Steele, Italian Gothic horror went overseas and reached cult status. The book examines the Italian Gothic horror of the period, with an abundance of previously unpublished production information drawn from official papers and original scripts. Entries include a complete cast and crew list, home video releases, plot summary and the author's analysis. Excerpts from interviews with filmmakers, scriptwriters and actors are included. The foreword is by film director and scriptwriter Ernesto Gastaldi.
- GenresFilmNonfiction
220 pages, Paperback
First published July 1, 2015
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About the author
Roberto Curti
36 books18 followersRoberto Curti is a free lance writer for several Italian and foreign magazines. He’s a regular contributor to Italian music, film and literary magazine Blow Up (http://www.blowupmagazine.com). He has collaborated, among others, to the Italian cult film magazine Nocturno Cinema and to the Canadian web mag Offscreen (www.offscreen.com). His most recent work is Italian Crime Filmography 1968-1980 (McFarland), an in-depth history of Italian crime and noir films.
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April 22, 2025
I love this book, and I am so happy there are sequels to it. I look forward to reading the others from this author.
It’s amazing to know that Mario Bava’s Black Sunday was considered very sexual when it came out in 1960. I guess because it showed Barbara Steele’s body (hardly graphically, by modern standards). But her bloody sacrifice is graphic. So Bava was at the forefront of the Sex and Death connection (and here I thought it was Dario Argento, but I guess everything he did was influenced by Bava).
Terror in the Crypt is not the first film to be based on LeFanu’s Carmella. I must read that again.
Much of the early Italian Gothic was also influenced by the Poe movies Roger Corman was doing at AIP, like The Pit and the Pendulum.
It’s amazing to know that Mario Bava’s Black Sunday was considered very sexual when it came out in 1960. I guess because it showed Barbara Steele’s body (hardly graphically, by modern standards). But her bloody sacrifice is graphic. So Bava was at the forefront of the Sex and Death connection (and here I thought it was Dario Argento, but I guess everything he did was influenced by Bava).
Terror in the Crypt is not the first film to be based on LeFanu’s Carmella. I must read that again.
Much of the early Italian Gothic was also influenced by the Poe movies Roger Corman was doing at AIP, like The Pit and the Pendulum.
Displaying 1 of 1 review