Well executed old and very dark house horror. Good set-up which includes the character of Poe, himself, alluding to the story in a London pub. Although from here it is pretty much the one guy who has taken the dare to visit the house on a particular night running from room to room either looking for or avoiding people, it is still most enjoyable. Plus we have the delightful and enigmatic Barbara Steele. There is some wooden dialogue and some unexplained bits and bobs but it is the super creepy atmosphere that is maintained throughout, that and the super musical score that keep this one moving nicely along. DVD originates from US and has a few extras
53 Reviews
Castle of Blood (aka Danse Macabre) Revisiting An Old Haunt
tarryrob13 November 2008
I originally saw this movie as a boy at the old Rialto Theatre as part of a Saturday afternoon matinée triple bill which also featured Vincent Price's "Last Man on Earth" and Mario Bava's "Nightmare Castle." I had nightmares about blood lusting ghosts for a week afterwards! Though I didn't know it then, all three movies would prove to be classics of the genre. No wonder I was so scared! Though all three films frightened me, it was Castle of Blood that had the most profound impact.
It was the first on the bill. I didn't even get to see it from the beginning as we were late getting to the cinema and missed the first 20 minutes of the movie. That's lot to miss since the edited print only ran about 79 minutes (the unedited runs 87minutes). But despite this, the dark creepy atmosphere (complete with ruined castles, fog enshrouded cemeteries, shadows and cobwebs), Gothic set design, strong acting, and suspense (especially the last 20 minutes) scared the bejeepers out of me and made a lasting impression It took me years to finally get a copy of the film for my collection. Since it was a French - Italian import, it wasn't a movie that showed up on the late show in Winnipeg. I couldn't quite remember the title (remember I didn't get to seen the beginning of the film and was scared witless), and to make matters worse, the film had been released under literally a dozen different movie titles (aka Danze Macabre, Coffin of Terror, Castle of Terror, Long Night of Terror, etc...) and the USA/UK working title "Castle of Blood" was very generic, similar to dozens of other "b" horror and suspense films, making it illusive. But thanks to the internet and perseverance, I found it at last! What a treat to finally watch the film in its entirety after so many years! It may not have had quite the sheer emotional impact that it did when I was a boy, but as haunted house movies go, it's stands up well and compares favourably to similar iconic films of the period such as "The Haunting," "The Innocents" or "Black Sunday," The film is a fine early effort of Italian director Antonio Margheriti. It stars 60's scream queen icon Barbara Steele and features a well written screenplay by Sergio Corbucci about a sceptical writer (Georges Riviere) who, on a bet, spends the night in haunted house and unsuspectingly becomes part of an annual ongoing ghostly story. The hypnotic Steele is well cast as the ghostly love interest - as is Arturo Dominici as Dr. Carmus, and Margarete Robsahm as Julia.
Many of the tricks Margheriti employs to create the film's eerie atmosphere (cobwebs, creaking doors, fog, etc) are bound to seem cliché to a modern audience, but they work far more effectively in black and white than they ever could in modern day colour. Rather than using body counts and special effects, the film creates scares the old fashion way, relying on a good story, stylish direction, fine set production, interesting camera work, and strong acting performances. Margheriti does a marvellous job taking these elements and building the film's suspense as the horrifying paranormal secret of the house gradually reveals itself to the unwitting writer.
The film is not without faults. The pace drags at the beginning of the film (ironically, the 20 minutes I originally missed). This is probably worsened by Synapse films effort to restore the film to its original length. Though fans will likely appreciate the chance to see the film restored - in terms of the intro - it may have been more of hindrance than a help. The English voice dubs are merely passable and, in the restored scenes, the language shifts from English to French (English subtitles provided) which is sure to be annoying to some viewers.
However, Synapse Films deserves kudos for the quality of the print. Clearly some effort was put into its restoration and deservedly so.
I enjoyed the film immensely and highly recommend it to aficionados of 60's Italian Goth films, or anyone who enjoys a good ghost story.
Rob Rheubottom Winnipeg, MB Canada
It was the first on the bill. I didn't even get to see it from the beginning as we were late getting to the cinema and missed the first 20 minutes of the movie. That's lot to miss since the edited print only ran about 79 minutes (the unedited runs 87minutes). But despite this, the dark creepy atmosphere (complete with ruined castles, fog enshrouded cemeteries, shadows and cobwebs), Gothic set design, strong acting, and suspense (especially the last 20 minutes) scared the bejeepers out of me and made a lasting impression It took me years to finally get a copy of the film for my collection. Since it was a French - Italian import, it wasn't a movie that showed up on the late show in Winnipeg. I couldn't quite remember the title (remember I didn't get to seen the beginning of the film and was scared witless), and to make matters worse, the film had been released under literally a dozen different movie titles (aka Danze Macabre, Coffin of Terror, Castle of Terror, Long Night of Terror, etc...) and the USA/UK working title "Castle of Blood" was very generic, similar to dozens of other "b" horror and suspense films, making it illusive. But thanks to the internet and perseverance, I found it at last! What a treat to finally watch the film in its entirety after so many years! It may not have had quite the sheer emotional impact that it did when I was a boy, but as haunted house movies go, it's stands up well and compares favourably to similar iconic films of the period such as "The Haunting," "The Innocents" or "Black Sunday," The film is a fine early effort of Italian director Antonio Margheriti. It stars 60's scream queen icon Barbara Steele and features a well written screenplay by Sergio Corbucci about a sceptical writer (Georges Riviere) who, on a bet, spends the night in haunted house and unsuspectingly becomes part of an annual ongoing ghostly story. The hypnotic Steele is well cast as the ghostly love interest - as is Arturo Dominici as Dr. Carmus, and Margarete Robsahm as Julia.
Many of the tricks Margheriti employs to create the film's eerie atmosphere (cobwebs, creaking doors, fog, etc) are bound to seem cliché to a modern audience, but they work far more effectively in black and white than they ever could in modern day colour. Rather than using body counts and special effects, the film creates scares the old fashion way, relying on a good story, stylish direction, fine set production, interesting camera work, and strong acting performances. Margheriti does a marvellous job taking these elements and building the film's suspense as the horrifying paranormal secret of the house gradually reveals itself to the unwitting writer.
The film is not without faults. The pace drags at the beginning of the film (ironically, the 20 minutes I originally missed). This is probably worsened by Synapse films effort to restore the film to its original length. Though fans will likely appreciate the chance to see the film restored - in terms of the intro - it may have been more of hindrance than a help. The English voice dubs are merely passable and, in the restored scenes, the language shifts from English to French (English subtitles provided) which is sure to be annoying to some viewers.
However, Synapse Films deserves kudos for the quality of the print. Clearly some effort was put into its restoration and deservedly so.
I enjoyed the film immensely and highly recommend it to aficionados of 60's Italian Goth films, or anyone who enjoys a good ghost story.
Rob Rheubottom Winnipeg, MB Canada
Great on atmosphere...
planktonrules17 January 2010
Warning: Spoilers
The DVD for "Danaza Macabra" (Castle of Blood) is very odd. That's because parts of the film are in French with subtitles and the rest is dubbed into English from the French. Sometimes, characters switched between the two in the middle of a scene! When I tried to get the film to be JUST subtitled or just dubbed, it made no difference! Odd, but still watchable.
The story purports to be based on a Poe story, though I can't recall which one. In fact, the character of Poe appears in the beginning and end of the film--though it didn't look especially like him.
A rich man makes a bet with a guy down on his luck that he cannot stay the entire night in a manner home. It seems like an easy bet to win--even if the house is very creepy. However, it can't be that easy, as the rich guy says that all those who previously took the bet died--yet this fool STILL wants to make the wager! While in the home, he meets lovely Barbara Steele within and falls madly for her. Later, however, he learns that she died more than a decade earlier! How can this be?! I could tell you more about the plot but don't want to spoil any of the suspense. See it for yourself to find out the rest of the story.
This film gets very high marks for creating a creepy atmosphere. The house, black & white cinematography and music work together to make for a scary looking film. As for the plot, it's interesting--especially because there are many twists and turns--so many that you are wondering just who is and who isn't among the undead by the end of the film.
The only negative is that I felt sorry for the poor snake that was needlessly killed. Crazy as it might sound, I felt sorry for it and it hardly seemed necessary.
Also, parents may want to know that towards the end there is a bit of nudity. A strikingly beautiful woman appears topless, but it's hardly necessary for the plot.
The story purports to be based on a Poe story, though I can't recall which one. In fact, the character of Poe appears in the beginning and end of the film--though it didn't look especially like him.
A rich man makes a bet with a guy down on his luck that he cannot stay the entire night in a manner home. It seems like an easy bet to win--even if the house is very creepy. However, it can't be that easy, as the rich guy says that all those who previously took the bet died--yet this fool STILL wants to make the wager! While in the home, he meets lovely Barbara Steele within and falls madly for her. Later, however, he learns that she died more than a decade earlier! How can this be?! I could tell you more about the plot but don't want to spoil any of the suspense. See it for yourself to find out the rest of the story.
This film gets very high marks for creating a creepy atmosphere. The house, black & white cinematography and music work together to make for a scary looking film. As for the plot, it's interesting--especially because there are many twists and turns--so many that you are wondering just who is and who isn't among the undead by the end of the film.
The only negative is that I felt sorry for the poor snake that was needlessly killed. Crazy as it might sound, I felt sorry for it and it hardly seemed necessary.
Also, parents may want to know that towards the end there is a bit of nudity. A strikingly beautiful woman appears topless, but it's hardly necessary for the plot.
One of the better Italian horror films of the 60's
evilskip8 August 1999
Two men(one being Edgar Allen Poe) in an English pub have drinks with a man eager to earn some quick money.He is dared to spend the night in a haunted house for a quite tidy sum.The catch is the dead of this particular house rise this very night.Previous people that have taken the dare didn't survive. The man takes the dare in spite of the warning.
Once inside the tension begins to rise as the man is joined by previous occupants of the house.He is forced to watch their very own violent deaths as they are repeated this particular night every year.The ghosts then try to lure the young man into joining them,even the ghost(Barbara Steele) who has fallen in love with him.Will he survive to see the dawn?
This is a very well made film.The scares are frequent and you actually care about several of the characters,ghosts included. The house/castle is grim and foreboding.The photography is great and Ms Steele never looked lovelier.
The ending is a real twist that you won't see coming.Give this one an 8!
Once inside the tension begins to rise as the man is joined by previous occupants of the house.He is forced to watch their very own violent deaths as they are repeated this particular night every year.The ghosts then try to lure the young man into joining them,even the ghost(Barbara Steele) who has fallen in love with him.Will he survive to see the dawn?
This is a very well made film.The scares are frequent and you actually care about several of the characters,ghosts included. The house/castle is grim and foreboding.The photography is great and Ms Steele never looked lovelier.
The ending is a real twist that you won't see coming.Give this one an 8!
Good intentions pay off despite clichés
mhesselius26 July 2010
It's hard to explain the appeal of this movie. It's not a gem as some have said. But I wouldn't characterize it as Euro-trash either. The plot is not very original, and relies on standard haunted house conventions, perhaps pirating some from Robert Wise's THE HAUNTING (1963). It may also have a literary source in Bulwer-Lytton's story "The Haunters and the Haunted," which also tells the story of a disbelieving rationalist who wagers he can spend a night in a mysterious house where spirits relive incidents from past lives. The film is full of continuity holes (or should I say "challenges"), because many may be explained away. But the execution is flawed. Feral cats, sudden scenes of carnage, and other fright effects do not deliver the shudders.
I must say, however, that the film held my interest, primarily because of the creepy, fog-shrouded sets that look better than they ought to on such a small budget, and because the performances are above average for this type of fare. And although the plot is full of old dark house clichés—slamming doors, billowing curtains, and mysterious portraits—some nice dialog makes it all seem less contrived somehow. There is no doubt that the director and writers were absolutely sincere.
There is also some provocative sexual content and nudity following a tradition of salaciousness that seems to have been a necessary ingredient of horror films as far back as Hollywood's pre-code days. So if I were forced to assess whether this glass is half empty or full I would say it is slightly more than half full. This one might appeal to all those baby boomers who watched the soap opera DARK SHADOWS when they were teenagers in the '60's. It has that feel to it, only with better acting and writing.
I must say, however, that the film held my interest, primarily because of the creepy, fog-shrouded sets that look better than they ought to on such a small budget, and because the performances are above average for this type of fare. And although the plot is full of old dark house clichés—slamming doors, billowing curtains, and mysterious portraits—some nice dialog makes it all seem less contrived somehow. There is no doubt that the director and writers were absolutely sincere.
There is also some provocative sexual content and nudity following a tradition of salaciousness that seems to have been a necessary ingredient of horror films as far back as Hollywood's pre-code days. So if I were forced to assess whether this glass is half empty or full I would say it is slightly more than half full. This one might appeal to all those baby boomers who watched the soap opera DARK SHADOWS when they were teenagers in the '60's. It has that feel to it, only with better acting and writing.
A great horror film remembered
timwaits91 March 2010
I remember seeing this film at the West End theater in Louisville, Kentucky when I was a boy. The scene where Dr. Carmus finds the gardener's coffin, and the breathing dead body therein, was the scariest part of the movie for me, only intensified by the darkness of the film. I also wondered about the people hanging from the trees at the end, until I recognized the part of the film in which the family name of the Blackwoods was changed from Blackblood, due to the fact that in the family history there was a character who was known for his many hangings of various people. Sir Thomas Blackwood seemed to get his kicks out of adding to the deaths caused by his family. I also noticed that as Foster first enters the gate of the cemetery, he is careful in noticing the sharp object of the gate, where he meets his end. I would not hesitate to recommend this film to horror movie lovers.
Another Brilliant Gothic Tale With Steele
Witchfinder-General-66623 May 2007
Antonio Margheriti's "Danza Macabra" aka. "Castle Of Blood" of 1964 is a beautiful and incredibly haunting masterpiece of Italian Gothic Horror, and after Mario Bava's "La Maschera Del Demonio" (aka. "Black Sunday") of 1960 and Roger Corman's "Pit And The Pendulum" of 1961 (starring the great Vincent Price) another must-see that earned the wonderful Barbara Steele her more than deserved fame as the most important female Horror icon in the history of motion pictures. But not only is the beautiful and brilliant Barbara Steele one of my favorite actresses of all-time, the screenplay to "Danza Macabra" was co-written by no one less than the cinematic genius Sergio Corbucci, who directed such ingenious Spaghetti Western milestones as "Django" (1966) and "The Great Silence" (1968). Italy's number 2 in the field (right after Mario Bava), Director Antonio Margheriti is one of the all-time masters of Gothic Horror, and "Castle of Blood" is doubtlessly his greatest achievement. Hardly another film works so brilliantly in creating an incredibly haunting, yet beautiful atmosphere as it is the case with this creepy masterpiece.
When he encounters the famous writer of brilliant macabre stories, Edgar Allen Poe, in a gloomy London tavern, young journalist Alan Foster (Georges Rivière) accepts a bet from a nobleman, that he can not spend a night in his haunted castle in the night of all souls' eve. As soon as Foster enters the eerie castle, mysterious things start to happen. After a little while, however, he encounters an enchanting resident of the castle, the stunningly beautiful Elisabeth Blackwood (Barbara Steele). The mysterious events so far, however, have only been forebodings of the terrors the castle bears, however...
The eerie castle setting alone would be sufficient to create a gloomy mood, the excellent black and white cinematography and a great score by Riz Ortolani create an incredibly haunting atmosphere that is eerie beyond comparison. The wonderful Barbara Steele is fantastic as always, I simply can not find enough words to praise this wonderful actress. No other actress has ever been capable of uniting ravishing beauty with the uncanny as it is the case with Steele, and no actress ever will. Besides Steele, the movie's cast contains another stunning beauty, Margarete Robsahm, and she also delivers a great performance. George Rivière's performance as Alan Foster is great, and the rest of the performances are also very good. "Castle of Blood" is outstanding in many departments: Barbara Steele Delivers one of her best performances, the cinematography and locations are beautifully haunting beyond comparison, the atmosphere is incredibly eerie... The film simply is a perfect whole of atmosphere, Gothic beauty and the art of terror. In short: "Castle of Blood" is one of the most atmospheric and greatest Gothic Horror films ever made, and must not be missed by anyone interested in the genre! 10/10
When he encounters the famous writer of brilliant macabre stories, Edgar Allen Poe, in a gloomy London tavern, young journalist Alan Foster (Georges Rivière) accepts a bet from a nobleman, that he can not spend a night in his haunted castle in the night of all souls' eve. As soon as Foster enters the eerie castle, mysterious things start to happen. After a little while, however, he encounters an enchanting resident of the castle, the stunningly beautiful Elisabeth Blackwood (Barbara Steele). The mysterious events so far, however, have only been forebodings of the terrors the castle bears, however...
The eerie castle setting alone would be sufficient to create a gloomy mood, the excellent black and white cinematography and a great score by Riz Ortolani create an incredibly haunting atmosphere that is eerie beyond comparison. The wonderful Barbara Steele is fantastic as always, I simply can not find enough words to praise this wonderful actress. No other actress has ever been capable of uniting ravishing beauty with the uncanny as it is the case with Steele, and no actress ever will. Besides Steele, the movie's cast contains another stunning beauty, Margarete Robsahm, and she also delivers a great performance. George Rivière's performance as Alan Foster is great, and the rest of the performances are also very good. "Castle of Blood" is outstanding in many departments: Barbara Steele Delivers one of her best performances, the cinematography and locations are beautifully haunting beyond comparison, the atmosphere is incredibly eerie... The film simply is a perfect whole of atmosphere, Gothic beauty and the art of terror. In short: "Castle of Blood" is one of the most atmospheric and greatest Gothic Horror films ever made, and must not be missed by anyone interested in the genre! 10/10
A Genuinely Creepy Miasma
ferbs5417 December 2007
I have never seen a Barbara Steele movie that I haven't liked, and have always been a sucker for a good haunted-house story (especially for such wonderful pictures as "The Legend of Hell House" and the original versions of "The Haunting" and "House on Haunted Hill"), so I had a feeling that "Castle of Blood" would be right up my alley. And boy, was it ever! This French-Italian coproduction, while perhaps not the classic that Steele's first horror film, "Black Sunday," remains to this day, is nevertheless an extremely atmospheric, chilling entry in the spook genre. Filmed in black and white, it manages to convey a genuinely creepy miasma. The film concerns a journalist who bets one Lord Blackwood and an author named Edgar Allen Poe that he can spend the night in Blackwood's castle on the night of All Saints Day, when the spirits of those killed in the castle reenact their fate. The viewer gets to see these deaths, and they ARE pretty horrible, for the most part. The film does indeed send shivers up the viewer's spine, and in the uncut DVD that I just watched--thanks to the fine folks at Synapse--even features a surprising topless scene and some mild lesbianism! And Barbara is wonderful in this movie; her otherworldly beauty is put to good advantage playing a sympathetic spectre. Her mere presence turns a creepy ghost story into something truly memorable. Not for nothing has she been called "The Queen of Horror."
One of the better 1960's horror films
johnrtracy20 September 2006
I've watched this movie a number of times, and found it to be very good. This movie is also known as "Castle Of Terror", "Coffin Of Terror", and "Dance Macabre". Barbara Steele, is her usual beautiful/creepy self. George Riviere, the male lead, does a good job with his role. The whole movie is dripping with atmosphere, and there is a good deal of tension throughout. The camera angles are good and the acting, for the most part, isn't bad. This film is quite suitable for a rainy day or evening. I have the DVD uncut version, which is far superior to the edited TV version. Grab some popcorn, turn out the lights, settle back and enjoy. John R. Tracy
Good...ish
Bezenby15 April 2017
This Gothic Horror contains a few firsts, for me at least. It has the earliest example I know of boobs in an Italian horror film (not Barbara Steele's I'm afraid), it also has the earliest example of erotic undead lesbianism, and sadly it has the earliest example of the Italians killing an animal on screen. That bit wasn't so good.
A journalist enters a pub to interview Edgar Allan Poe and ends up being involved in a wager by Umberto Raho to spend the night at a haunted castle that no one has returned alive from. The journalist is all like 'sure buddy, don't see anything wrong with that' and I was all set up to see doors moving on their own and all that jazz.
That happens for a little while, but then Barbara Steele turns and starts putting the moves on the guy! Naturally, the guy's willing to disregard the metaphysical psychobabble coming out of her mouth in order to get her into bed, but imagine his surprise when another chick turns up and shows an interest too! At first the guy is pinching himself but then of course there's two women in a room together so they start arguing with each other. Things get even stranger when more people turn up and our journalist starts wondering if it was a good idea to take that wager, as these folks are dead and reliving their last moments over and over again. Can he escape perhaps maybe? This film didn't grab me right away but it does pick up as it goes along so you can forgive the dull spots. It reminded me a lot of Umberto Lenzi's House of Lost Souls (1988) only nowhere near as funny. You also get Barbara Steele with her heaving cleavage and six inch long eyelashes. Could have done without the snake being killed though - not sure why they had to include that.
It now makes more sense to me that Margheriti's Giallo Seven Deaths In The Cats Eye has a Gothic setting (that's a good one - an ape is one of the suspects!).
A journalist enters a pub to interview Edgar Allan Poe and ends up being involved in a wager by Umberto Raho to spend the night at a haunted castle that no one has returned alive from. The journalist is all like 'sure buddy, don't see anything wrong with that' and I was all set up to see doors moving on their own and all that jazz.
That happens for a little while, but then Barbara Steele turns and starts putting the moves on the guy! Naturally, the guy's willing to disregard the metaphysical psychobabble coming out of her mouth in order to get her into bed, but imagine his surprise when another chick turns up and shows an interest too! At first the guy is pinching himself but then of course there's two women in a room together so they start arguing with each other. Things get even stranger when more people turn up and our journalist starts wondering if it was a good idea to take that wager, as these folks are dead and reliving their last moments over and over again. Can he escape perhaps maybe? This film didn't grab me right away but it does pick up as it goes along so you can forgive the dull spots. It reminded me a lot of Umberto Lenzi's House of Lost Souls (1988) only nowhere near as funny. You also get Barbara Steele with her heaving cleavage and six inch long eyelashes. Could have done without the snake being killed though - not sure why they had to include that.
It now makes more sense to me that Margheriti's Giallo Seven Deaths In The Cats Eye has a Gothic setting (that's a good one - an ape is one of the suspects!).
Very pale in comparison to Black Sunday
Johan_Wondering_on_Waves4 July 2015
Warning: Spoilers
Ever since I saw Black Sunday (great movie) I wanted to see more of Barbara Steele. Castle of Blood was another recommendation from a while ago. Finally I have watched it. If not for Barbara Steele don't think I would have lasted through this one. Sure atmospheric, black/white cinematography but I'm nor really sure what kind of point the writer wanted to make. The whole back story of how all the ghost came to an end it was your typical run of the mill story pretty rich lady has a secret lover so the two men kill each other. More interesting was the pretty Julia having a lesbian crush on Elisabeth, that must have been something back than. Elisabeth and Alan Foster in love while both hardly having much interaction seemed more like both were in desperate need of a good lay. Didn't convince me at all. Alan seeing images of the past was interesting but than him yelling at the doctor and he young couple to watch out, I was like idiot they can't hear you they are already dead. And than the ending I was like oh yes he made it through the gate and than the gate itself spiking his head I was like oh please that is quite a retarded way to die. And than his voice oh yes Elisabeth I stayed for you, yeah right are you trying to make me believe you spiked your head on purpose? As a romance it might work but as horror not really, the story and its ending I thought were extremely lame. 5/10 points for the splendid cinematography, the beautiful ladies and the daring lesbian angle.
Wonderfully eerie Italian horror.
HumanoidOfFlesh30 March 2004
Antonio Margheriti's "Danza Macabra"/"Castle of Blood" is an eerie,atmospheric chiller that succeeds on all fronts.It looks absolutely beautiful in black & white and it has wonderfully creepy Gothic vibe.Alan Foster is an English journalist who pursues an interview with visiting American horror writer Edgar Allan Poe.Poe bets Foster that he can't spend one night in the abandoned mansion of Poe's friend,Thomas Blackwood.Accepting the wager,Foster is locked in the mansion and the horror begins!The film is extremely atmospheric and it scared the hell out of me.The crypt sequence is really eerie and the tension is almost unbearable.Barbara Steele looks incredibly beautiful as sinister specter Elisabeth Blackwood."Castle of Blood" is easily one of the best Italian horror movies made in early 60's.A masterpiece!
Barbara Steel + Gothic horror. yes, please.
lost-in-limbo12 June 2020
Warning: Spoilers
Hypnotic slow-burn b/w gothic horror seeping with tragic melancholy and feverish macabre as the dead are forced to relive past sins (their grisly deaths) the same night every year, and draw in anyone who happens to find themselves within the same walls.
Interestingly the film is bookend by having Edgar Allan Poe at a tavern interacting with Georges Rivièr's lead (a sceptical journalist who questions the truth/context of Poe's tales). This leads to a bet with Poe's counterpart to spend a night in his deserted haunted Blackwood castle on All Souls' Day. Where Blackwood and Poe would pick him up the next morning.
The atmospheric story builds nicely, very dream-like as the gloomy castle engulfs the protagonist's mind. It had me intrigued to where it was heading in spite of the run-of-the-mill backstory. Although it surprised me with a good finale shock, but before delivering the fatal blow it sets it up rather well in orchestrating the possible outcomes of his interactions with the dead. As for the cast, Barbara Steel perfectly brings a gamut of emotions. She's centre of attention to everyone and the only spectre who sympathetically wants to help, but the likes of Margrete Robsahm and Arturo Dominici were a nice counterbalance with their cold, nurtured turns. The relationship between Steele and Robsahm's characters was somewhat vague, so Steele killing Robsahm when she passionately throws herself onto her was kinda out-the-blue. But I read the english dub version cuts out exchanges between the two, especially a love making scene which would make Robsahm's actions, and her murder less startling in the scheme of things.
Interestingly the film is bookend by having Edgar Allan Poe at a tavern interacting with Georges Rivièr's lead (a sceptical journalist who questions the truth/context of Poe's tales). This leads to a bet with Poe's counterpart to spend a night in his deserted haunted Blackwood castle on All Souls' Day. Where Blackwood and Poe would pick him up the next morning.
The atmospheric story builds nicely, very dream-like as the gloomy castle engulfs the protagonist's mind. It had me intrigued to where it was heading in spite of the run-of-the-mill backstory. Although it surprised me with a good finale shock, but before delivering the fatal blow it sets it up rather well in orchestrating the possible outcomes of his interactions with the dead. As for the cast, Barbara Steel perfectly brings a gamut of emotions. She's centre of attention to everyone and the only spectre who sympathetically wants to help, but the likes of Margrete Robsahm and Arturo Dominici were a nice counterbalance with their cold, nurtured turns. The relationship between Steele and Robsahm's characters was somewhat vague, so Steele killing Robsahm when she passionately throws herself onto her was kinda out-the-blue. But I read the english dub version cuts out exchanges between the two, especially a love making scene which would make Robsahm's actions, and her murder less startling in the scheme of things.
Barbara Steele showcasing Amorous behavior in a Haunted Mansion. I'm There!
thejcowboy227 August 2018
In my teenage years I discovered this film by my vampire aficionado Corinne Muller. Corinne lived a few house's over from me and our relationship was strictly horror movies. My friends and younger sister would pile into Corrine's den and watch the popular soap opera "Dark Shadows" which aired daily every afternoon on the ABC network. I remember the enormous popularity of that program especially with young kids who ran pell-mell from school to catch the half hour macabre themed saga. When I was 7 years old I also watched the original Bela Lugosi version of Dracula which scared me so much that I ran out of the room at top speed and hid under the covers in the safety of my bedroom. In the 1960's there came a large influx of foreign versions of horror films coming out of the United Kingdom and Italy. Castle of Blood or Castle of Terror is a perfect example of fine Italian cinematography and direction. At first glance I was sort of scared. Our film is shot in Black and white which by no means diminishes the visual quality of the movie. This film takes place in the nonindustrial era in London, England around 1860. Our story starts with two
writers named Foster and Poe, Edgar Allan to be exact,in a tavern discussing a possible bet. The terms of the bet explained by Poe are the following...Going to a nearby haunted castle and spending the night on "All Souls Eve" and stay alive the next day to collect. This castle has a litany of horrible deaths through the years of prior guests and inhabitants. Obviously this film is clearly dubbed in English but not noticeable enough to hurt the continuity of the movie. Writer Alan Foster (George Riviere) the male lead in this evening of meeting departed people, enters the castle and is instantly locked inside. He meets to his delight, an attractive Woman, Elisabeth Blackwood (Barbara Steele) wearing a lovely white negligee. The lovely centerpiece in this musty old mansion. To avoid spoilers Alan witnesses and interacts with ghosts in solid human form all night witnessing the previous ghastly murders in chronological order. I personally enjoyed the romantic scenes Alan had with Elisabeth. The movie does contain violent scenes but balanced with the lovely Barbara and her jealous low-cut rival Julia (Margrete Robsahm) kind of makes you forget your watching a horror genre type film and instead more of a romance and lust based movie. There is a lesbian theme here which is sutle but it's apparent that Julia wants Elisabeth's affections. There is nudity in the film depending on which version you purchase which makes the horror scenes more except-able. The wardrobe department gets high marks for this film as all our characters are impeccably dressed for that time period. Barbara Steele in her fancy hoped gown wants you to come a courting. This movie had two directors Sergio Corbucci and Antonio Margheriti and it payed off as the movie was shot in two weeks time and under budget. Barbara Steele and Sylvia Sorrente captured my fancy and some 40 years later I never get tired off watching them on the screen despite the bloodshed. This opened my interest in Barbara Steele movies and I love them all. Just remember if your going to spend the night in a haunted house, spend it with Barbara and she'll share her bed with you. I guess Ghosts don't snore.
One of the best Italian horrors of the '60's.
verna555 November 2000
Of the many black and white Gothic horror-thrillers to come out of Italy in the '60's, this is undoubtedly one of the best. However, it is, of course, second to Mario Bava's masterpiece "Black Sunday". Both films star the mysterious and very beautiful British actress Barbara Steele who would become a leading figure in these creepy sixties shockers. Plot of this film deals with a cocky reporter(George Riviere) who is offered a wager to spend the night in a supposedly haunted castle. Predictably, he accepts the wager. The million-dollar question is, will he live through the night to collect his prize? Barbara Steele is a captivating "ghost" who roams the halls of the dark, sinister place and makes the man's stay there a little more pleasant. But as the evening passes on, other specters appear, and with less than godly intentions. Beautifully atmospheric chiller with Steele in fine form. A lesbian scene with Barbara and co-star Margaret Robsahm was cut from the film before it was released to the US. The movie was remade six years later and by the same director(Anthony Dawson) as WEB OF THE SPIDER.
Barbara Steele - What more could you ask for?
bensonmum25 February 2005
Warning: Spoilers
Castle of Blood is a good example of the quality work in the horror genre being turned out in Italy in the 60s. The film has all of the right elements - old dark house, atmosphere, a decent story, and Barbara Steele. Steele makes most any film worth seeing.
The story concerns a haunted castle. People have visited, but none have returned. Our hero makes a wager that he can spend the night in the castle and return to collect his winnings. But, the night he visits is a special night. It's the night each year when the dead return to relive their deaths.
The only flaw I see in the movie is the running time. It almost feels padded. There is a large portion of the first act where literally nothing happens. Our hero stumbles around in the dark finding nothing of interest. But once he does find something, the movie picks up and become quite enjoyable.
Castle of Blood is a definite must for Steele fans and fans of Italian Gothic horror in general.
The story concerns a haunted castle. People have visited, but none have returned. Our hero makes a wager that he can spend the night in the castle and return to collect his winnings. But, the night he visits is a special night. It's the night each year when the dead return to relive their deaths.
The only flaw I see in the movie is the running time. It almost feels padded. There is a large portion of the first act where literally nothing happens. Our hero stumbles around in the dark finding nothing of interest. But once he does find something, the movie picks up and become quite enjoyable.
Castle of Blood is a definite must for Steele fans and fans of Italian Gothic horror in general.
Above average Italian horror movie with chills , thrills , surprises , atmospheric sets and scary happenings
ma-cortes8 August 2020
While interviewing the famous writer Edgar Allan Poe : Silvano Tanquili, a journalist named Foster : Georges Riviere takes a bet with Thomas Blackwood : Umberto Raho , so that he can spend one night at a tenebrous and haunted house. There appear to him vengeful spectres and bloodsuckers roaming here and there, resulting in fateful consequences.
Nice terror movie revolving around the house haunted plot with plenty of ghosts , eerie appearances formed by preternatural beings , creepy murders and ghastly events. Set at a ghastly castle where happens scabrous and horrifying events . In spite of a few escenarios and its low budget the picture is pretty well, thanks to the adequate filmmaking , stunning cinematography taking great use of lights and shades as well as camera positioning to complement appropriate horror set pieces. Acceptable starring , an obstinate journalist well incarnated by Georges Riviere . Special mention for the always great Barbara Steele , here become a Terror myth along with other films she starred as Black Sunday and She-Beast. Support cast are very fine , such as : Arturo Dominici, Margrete Robsahm, Silvano Tranquili , Umberto Raho , Benito Stefanelli and Giovanni Cianfriglia who used to play under pseudonym as Ken Wood for Spaghetti Westerns.
Displaying a thrilling and frightening musical score by Riz Ortalani. It contains a dark and sinister cinematography in black and white by Riccardo Pallotini . The motion picture was compellingly directed by Antonio Margheriti or Anthony M. Dawson and uncredited by Sergio Corbucci, the latter a prestigious filmmaker of notorious Spaghetti Westerns. Antonio Margheritti was a good craftsman expert on horror and exploitation films. Antonio directed with skill and aplomb from 1956 to his death in 2002. He made all kinds of genres , some of them splendidly directed and others mediocre or failures. As he realized wartime movies, such as : The Last Hunter , Tornado, Codename Wild Geese , Der Commander , Command Leopard . Sci-Fi : War of Planets , Planet of the Prowl , Criminal of the Galaxy , Yor the Hunter from the future , Treasure Planet .Spaghetti Western : Joko, Dynamite Joe , The Stranger and the Gunfighter , Take a Hard Ride , Ghosts go West , Joe implacable God Said to Cain. And Terror : Virgin of Nuremberg , Cannibal Apocalypse , Alien From Deep , Flesh for Dracula, Flesh for Frankenstein, among others. Rating 7.5/10. Better than average. The picture will appeal to Italian Gothic aficionados.
Nice terror movie revolving around the house haunted plot with plenty of ghosts , eerie appearances formed by preternatural beings , creepy murders and ghastly events. Set at a ghastly castle where happens scabrous and horrifying events . In spite of a few escenarios and its low budget the picture is pretty well, thanks to the adequate filmmaking , stunning cinematography taking great use of lights and shades as well as camera positioning to complement appropriate horror set pieces. Acceptable starring , an obstinate journalist well incarnated by Georges Riviere . Special mention for the always great Barbara Steele , here become a Terror myth along with other films she starred as Black Sunday and She-Beast. Support cast are very fine , such as : Arturo Dominici, Margrete Robsahm, Silvano Tranquili , Umberto Raho , Benito Stefanelli and Giovanni Cianfriglia who used to play under pseudonym as Ken Wood for Spaghetti Westerns.
Displaying a thrilling and frightening musical score by Riz Ortalani. It contains a dark and sinister cinematography in black and white by Riccardo Pallotini . The motion picture was compellingly directed by Antonio Margheriti or Anthony M. Dawson and uncredited by Sergio Corbucci, the latter a prestigious filmmaker of notorious Spaghetti Westerns. Antonio Margheritti was a good craftsman expert on horror and exploitation films. Antonio directed with skill and aplomb from 1956 to his death in 2002. He made all kinds of genres , some of them splendidly directed and others mediocre or failures. As he realized wartime movies, such as : The Last Hunter , Tornado, Codename Wild Geese , Der Commander , Command Leopard . Sci-Fi : War of Planets , Planet of the Prowl , Criminal of the Galaxy , Yor the Hunter from the future , Treasure Planet .Spaghetti Western : Joko, Dynamite Joe , The Stranger and the Gunfighter , Take a Hard Ride , Ghosts go West , Joe implacable God Said to Cain. And Terror : Virgin of Nuremberg , Cannibal Apocalypse , Alien From Deep , Flesh for Dracula, Flesh for Frankenstein, among others. Rating 7.5/10. Better than average. The picture will appeal to Italian Gothic aficionados.
The shudders have stuck with me for 40 years!
rickkoobs15 March 2005
I saw this film when I was 10 or 11 years old, alone in my parent's basement on a Saturday night. It was being shown on "Chiller Theatre," a regular fright feature that I watched religiously as a young 'un. Now, I have seen many old horror films thanks to Chiller Theatre, but none ever stuck with me like "Danse Macabre," a.k.a. "Castle of Blood." I am 51 now, and only last year was I fortunate enough to locate a relatively recent, quality DVD edition of this wonderfully shudder-inducing supernatural classic, having thought I'd never manage to see it again. I have already watched it four more times, and cannot seem to get tired of it.
They just don't make spook films like this one anymore. Haunted catacombs and mist-enshrouded graveyards just don't work as well in color as they did in black and white back in the day. Anyway, this one has Edgar Allen Poe and Barbara Steele, deliciously shadowy, cobweb-wrap'ed haunted castle sets, restless spirits re-enacting their deaths... and a wickedly ironic ending.
IMO, this one's right up there with Robert Wise's "The Haunting," "The Innocents" (with Deborah Kerr), and the more recent "The Others."
They just don't make spook films like this one anymore. Haunted catacombs and mist-enshrouded graveyards just don't work as well in color as they did in black and white back in the day. Anyway, this one has Edgar Allen Poe and Barbara Steele, deliciously shadowy, cobweb-wrap'ed haunted castle sets, restless spirits re-enacting their deaths... and a wickedly ironic ending.
IMO, this one's right up there with Robert Wise's "The Haunting," "The Innocents" (with Deborah Kerr), and the more recent "The Others."
Atmospheric tale of a love beyond the grave
mlraymond21 October 2006
Warning: Spoilers
This complicated story begins fairly simply, with an English journalist accepting a wager from Edgar Allen Poe and his friend Lord Blackwood that he cannot spend a night in the haunted Blackwood castle. Once there, the writer wanders around the dusty rooms and corridors, until music and a glimpse of a waltzing couple lead him into an empty room. He sits at the harpsichord and starts to play the tune he has heard, and is surprised to be tapped on the shoulder by the stunningly beautiful Elizabeth Blackwood. She informs him with an ambiguous charming/eerie manner that she has prepared his room upstairs and that someone is always expected on this night...the Night of the Dead. Thus begins a startling series of supernatural events that bewilder the journalist all the rest of the night. SPOILER AHEAD: it probably won't surprise too many viewers to learn that the lovely Elizabeth is actually a ghost. This doesn't prevent her from falling in love with the journalist, but it does make things more complicated for them than for the average couple. This is a fun movie, with absolutely everything: ghosts, the spooky castle, repeated visions of past events, sex and violence ( though both have been toned down in the version most Americans have seen over the years.) The alluring, captivating Barbara Steele is the main reason to see it. She has a strange charisma unlike anyone else you've ever seen in the movies. Recommended!
Directed by Antonio Margheriti (Killer Fish, Cannibal Apocalypse)
robocopssadside18 February 2005
Warning: Spoilers
When American author Edgar Allan Poe visits London, he is approached by British journalist Alan Foster, who becomes the target of a peculiar wager. Not believing Poe's assertion that all of his macabre stories have been based on actual experience, Foster accepts a bet from Poe and his friend Sir Thomas Blackwood that he cannot spend an entire night in the Blackwood's haunted castle. Once installed in the abandoned castle, Foster discovers that he is not alone, as he is approached by various beautiful women and handsome men, and a doctor of metaphysics - who explains that they are all lost souls damned to replay the stories of their demises on the anniversary of their deaths! The first time I watched this glorious bit of classic horror, I was mesmerized the entire time. I found the movie genuinely creepy and at the same time sorrowful. Babs Steele is undeniably beautiful. The music score makes the atmosphere twice as terror inducing. The topless scene threw me for a loop, as I was not expecting it. It looks as Synapse did a great job with picture enhancement, because this movie looks damn fine for its age, and it's the Uncut International version, to boot. This is the movie responsible for me starting a Babs Steele and Klaus Kinski collection.
Brilliant atmospheric Italian gem!
The_Void11 October 2005
Italy produced a lot of really great and original horror films in the 1960's - and this is certainly one of them! The first thing you will notice about Danse Macabre is the style of the film. Shot in beautiful black and white, and due to director Antonio Margheriti's use of lighting; the film almost looks like it could be a German expressionistic horror film. This, coupled with the horror-filled plot line ensures that Danse Macabre is a film that truly captures the essence of horror. Of course, the fact that the beautiful Barbara Steele appears in the film doesn't harm matters - and the good news continues as, in this film, she gets to flex her acting muscles more than she did in the films that made her famous. The plot is very aware of the time in which this was released, and so incorporates the great Edgar Allen Poe. We follow Alan Foster, a writer who accepts a bet from Poe himself and Lord Blackwood that he can't spend an entire night in the latter's creepy old castle. Everyone that has spent the night there previously has died...and our hero is about to meet the previous wager-takers!
Nowadays, horror films don't tend to focus so much on each shot and the result is that there isn't much beauty left in the genre. It is refreshing, therefore, to see this film. Many of the shots here are incredibly beautiful - from the female side of the couple wearing just a see-through skirt, to my personal favourite - a shot of smoke creeping in from under a door. This my first Antonio Margheriti film, and even after seeing just this one; it's obvious that he was one of Italy's premier directors. Also interesting is the fact that screenplay was co-written by another of the Italian greats; Django creator Sergio Corbucci. The plot can meander a little too much at times, but there's always enough atmosphere on hand to make sure that the film never becomes boring - and the fact that it is always intriguing, even when the plot slows down, ensures the same thing. The way that Danse Macabre utilises the 'haunted house' theme is both well done and original, and helps to keep the story as eerie as possible. On the whole, fans of Italian and/or cult cinema will not want to miss this little gem!
Nowadays, horror films don't tend to focus so much on each shot and the result is that there isn't much beauty left in the genre. It is refreshing, therefore, to see this film. Many of the shots here are incredibly beautiful - from the female side of the couple wearing just a see-through skirt, to my personal favourite - a shot of smoke creeping in from under a door. This my first Antonio Margheriti film, and even after seeing just this one; it's obvious that he was one of Italy's premier directors. Also interesting is the fact that screenplay was co-written by another of the Italian greats; Django creator Sergio Corbucci. The plot can meander a little too much at times, but there's always enough atmosphere on hand to make sure that the film never becomes boring - and the fact that it is always intriguing, even when the plot slows down, ensures the same thing. The way that Danse Macabre utilises the 'haunted house' theme is both well done and original, and helps to keep the story as eerie as possible. On the whole, fans of Italian and/or cult cinema will not want to miss this little gem!
Good premise, middling execution
I_Ailurophile31 October 2021
Though only lasting about 10 minutes or so, the opening exposition is still longer than it needs to be. We're a little shy of one-third through before anything especially meaningful happens, and until then protagonist Alan Foster (Georges Rivière) is merely meandering without direction in a castle too dark to appreciate any details. The plot effectively begins thereafter with the introduction of the spectral Elisabeth Blackwood (Barbara Steele), though still the movie initially strikes a tone notably distinct from the average ghost flick. Only slowly do we gain more eventfulness - 'Castle of blood' isn't for those whose attention easily strays.
I like what we see of the set decoration, and the costume design. The minor special effects and editing employed here look swell. I think there's great promise in the concept - a screenwriter could pursue psychological horror, pure atmosphere, or bloody carnage, and be as underhanded or bombastic as they like: there are fine films that could be made from the ideas behind this one. I regret to say I'm disinclined to think 'Castle of blood' specifically joins that company.
Plot advancement, mostly in the form of dialogue, is written into the film with very little care or passion. That dialogue, and much of the length generally, is so soporific that I actually did nod off and had to rewind to ensure I didn't truly miss anything. Foster's early aimless wandering is echoed later in the film with scarcely more purpose, and the pace is a considerable detriment; I don't think this needed to be 90 minutes long. Moments to capture our attention through liveliness - not through intrigue, or any especial strength of storytelling or film-making - are scattershot until the climax in the last 10 minutes. Truly, at least the finale is reasonably well done. Yet otherwise the viewing experience seems to me to be mostly a lot of waiting, and then waiting some more. Not unlike the spirits in the picture, I dare say.
I didn't have any particular assumptions going in, but I find myself disappointed. Strong possibilities were wasted on a movie that is for the most part unhurried and unbothered to a fault. I had hoped to like 'Castle of blood,' but too many aspects of its production were crafted with a dullness that hampers the story's impact and our entertainment. There are worse things to watch, should you come across this, but don't go out of your way and keep your expectations mild.
I like what we see of the set decoration, and the costume design. The minor special effects and editing employed here look swell. I think there's great promise in the concept - a screenwriter could pursue psychological horror, pure atmosphere, or bloody carnage, and be as underhanded or bombastic as they like: there are fine films that could be made from the ideas behind this one. I regret to say I'm disinclined to think 'Castle of blood' specifically joins that company.
Plot advancement, mostly in the form of dialogue, is written into the film with very little care or passion. That dialogue, and much of the length generally, is so soporific that I actually did nod off and had to rewind to ensure I didn't truly miss anything. Foster's early aimless wandering is echoed later in the film with scarcely more purpose, and the pace is a considerable detriment; I don't think this needed to be 90 minutes long. Moments to capture our attention through liveliness - not through intrigue, or any especial strength of storytelling or film-making - are scattershot until the climax in the last 10 minutes. Truly, at least the finale is reasonably well done. Yet otherwise the viewing experience seems to me to be mostly a lot of waiting, and then waiting some more. Not unlike the spirits in the picture, I dare say.
I didn't have any particular assumptions going in, but I find myself disappointed. Strong possibilities were wasted on a movie that is for the most part unhurried and unbothered to a fault. I had hoped to like 'Castle of blood,' but too many aspects of its production were crafted with a dullness that hampers the story's impact and our entertainment. There are worse things to watch, should you come across this, but don't go out of your way and keep your expectations mild.
Walking Dead
robotman-120 June 2001
Film dominated by raven-haired Barbara Steele, it was seen when I was seven or eight and created permanent images of pallid vampiric men and women stalking a castle, seeking blood. Steele is an icon of horror films and an otherworldly beauty, and the views of the walking dead pre-date Romero's NIGHT OF THE LIVING DEAD shamblers, unifying them in my mind.
I don't see the connection between this film and THE HAUNTING, which is clever but ambiguous about the forces present. LA DANZA MACABRE is a b-movie without pretention, daring you to fall in love with Barbara Steele and suffer the consequences. There's no such draw to HAUNTING's overwrought Claire Bloom. The comparisons to the HAUNTING are superficial.
And no, this movie does NOT need to be remade. Not only is it a product of the Sixties, but the large percentage of talentless cretins in Hollywood cannot fathom MACABRE's formula for terror. That formula is based on one overriding factor: GOOD WRITING. Low-grade classics like CASTLE and Corman's Poe films with R. Matheson and Tourneur's OUT OF THE PAST share a commonality of strong writing. It's simple. Get a real writer like Richard Matheson or Steve McQuarrie and let them put a plot into today's cinematic mess. Besides that, let Hollywood attempt some original material for a change, and stop exploiting the obviously superior product of the past.
I don't see the connection between this film and THE HAUNTING, which is clever but ambiguous about the forces present. LA DANZA MACABRE is a b-movie without pretention, daring you to fall in love with Barbara Steele and suffer the consequences. There's no such draw to HAUNTING's overwrought Claire Bloom. The comparisons to the HAUNTING are superficial.
And no, this movie does NOT need to be remade. Not only is it a product of the Sixties, but the large percentage of talentless cretins in Hollywood cannot fathom MACABRE's formula for terror. That formula is based on one overriding factor: GOOD WRITING. Low-grade classics like CASTLE and Corman's Poe films with R. Matheson and Tourneur's OUT OF THE PAST share a commonality of strong writing. It's simple. Get a real writer like Richard Matheson or Steve McQuarrie and let them put a plot into today's cinematic mess. Besides that, let Hollywood attempt some original material for a change, and stop exploiting the obviously superior product of the past.
Help Me Make It Through The Night.
rmax30482321 January 2011
Warning: Spoilers
A reporter, Georges Riviere, accepts a bet that he can not spend the night alone in a broken-down castle. He loses.
The story opens in a shabby London ale house with a chubby Edgar Allan Poe telling a horrifying tale. You can tell that it's horrifying because his eyes are practically popping from their sockets. Of his two listeners, the reporter, Riviere, scoffs. The other man owns a mansion two hours from the city. The place is supposed to be uninhabited but those who visit it -- which happens once a year -- are never seen again.
Riviere is dropped off at the castle's gate by the owner and Poe, whose carriage then trundles off into the night in the film's most unsettling scene. Riviere enters the grounds and stumbles through a nightmare of thickets and bare hanging branches. Inside, the castle is filled with shadows and cobwebs. It's all reminiscent of Renfield's being dropped off at the Borga Pass and being taken by carriage to Dracula's castle.
Well -- "Dracula" was itself a bit confusing. You will remember that Dracula shooed his female consorts away from the unconscious victim and sucked the blood himself. So what did the females eat or drink? How long could they exist without drinking blood? Why was Dracula such a hog? If Renfield was turned into a vampire, how come he could subsist on flies? "Castle of Blood" is even less logical. The castle turns out to be filled with spirits. Most of them walk around like zombies but at least one of them, Barbara Steele, of the enormous eyes and magnificent mammaries, is pretty lively. She no sooner meets Riviere than she throws herself at him, has the reporter declaring his love for her, and they spend some time in the sack together. (The camera pans to the fireplace, where the logs send up brighter flames.) I don't know what the attraction is. Okay, Barbara Steele isn't bad looking, but Georges Riviere seems kind of plain to me and gives a particularly ligneous performance.
That's nothing, though. The spirits come and go. Their peregrinations make no more sense than they did in "The Shining." There can be a ballroom full of whirling, well-dressed, waltzing men and women, and in the next moment they're gone. One is a lesbian. The reporter shoots one of them, a dim muscle man, and he apparently dies, only to show up later thirsty for blood.
They're all thirsty for Riviere's blood. It's going to keep them alive for another year, until the next visitor brings next year's supply. But just as the reporter seems cornered, Steele appears, sobbing out her love for him, and shows him the door to the outside, where it will soon be light.
Riviere drags her along, screaming. Once outside, though it is still night, she drops to the grass and dissolves into a skeleton. Riviere beats it to the gate and slips through it to wait for the carriage that will pick him up that morning.
Too late, though. Being outside the castle may have skeletonized Steele but it doesn't prevent the other spirits from following the reporter and slamming the gate shut behind him, impaling him on one of its spikes. Their voices keep repeating, "We need your blood. Now you are one of us." In fact, there is no blood from the puncture of the spike and nobody around to drink it. And if the spirits can wander around at will outside the castle, what's to stop them from wafting into London and treating themselves to a real repast of Dickensian losers?
And, not that it matters much, but the elderly fellow who owns the castle shows up with Poe at dawn to pick up the reporter and they find his body held upright against the gate. Both Poe and the owner are properly shocked. Yet, what is the owner playing at? He seems to know nothing of what's up, but he sends the ghosts a fresh victim on the same night of every year?
Riviere keeps checking his anachronistic pocket watch to see how much painful time has passed. I felt his pain. Castle of Tedium.
Want to see a good, scary movie without a cascade of gore? Watch "Dead of Night." Want to see a good, scary, CHEAP movie? See "Carnival of Souls."
The story opens in a shabby London ale house with a chubby Edgar Allan Poe telling a horrifying tale. You can tell that it's horrifying because his eyes are practically popping from their sockets. Of his two listeners, the reporter, Riviere, scoffs. The other man owns a mansion two hours from the city. The place is supposed to be uninhabited but those who visit it -- which happens once a year -- are never seen again.
Riviere is dropped off at the castle's gate by the owner and Poe, whose carriage then trundles off into the night in the film's most unsettling scene. Riviere enters the grounds and stumbles through a nightmare of thickets and bare hanging branches. Inside, the castle is filled with shadows and cobwebs. It's all reminiscent of Renfield's being dropped off at the Borga Pass and being taken by carriage to Dracula's castle.
Well -- "Dracula" was itself a bit confusing. You will remember that Dracula shooed his female consorts away from the unconscious victim and sucked the blood himself. So what did the females eat or drink? How long could they exist without drinking blood? Why was Dracula such a hog? If Renfield was turned into a vampire, how come he could subsist on flies? "Castle of Blood" is even less logical. The castle turns out to be filled with spirits. Most of them walk around like zombies but at least one of them, Barbara Steele, of the enormous eyes and magnificent mammaries, is pretty lively. She no sooner meets Riviere than she throws herself at him, has the reporter declaring his love for her, and they spend some time in the sack together. (The camera pans to the fireplace, where the logs send up brighter flames.) I don't know what the attraction is. Okay, Barbara Steele isn't bad looking, but Georges Riviere seems kind of plain to me and gives a particularly ligneous performance.
That's nothing, though. The spirits come and go. Their peregrinations make no more sense than they did in "The Shining." There can be a ballroom full of whirling, well-dressed, waltzing men and women, and in the next moment they're gone. One is a lesbian. The reporter shoots one of them, a dim muscle man, and he apparently dies, only to show up later thirsty for blood.
They're all thirsty for Riviere's blood. It's going to keep them alive for another year, until the next visitor brings next year's supply. But just as the reporter seems cornered, Steele appears, sobbing out her love for him, and shows him the door to the outside, where it will soon be light.
Riviere drags her along, screaming. Once outside, though it is still night, she drops to the grass and dissolves into a skeleton. Riviere beats it to the gate and slips through it to wait for the carriage that will pick him up that morning.
Too late, though. Being outside the castle may have skeletonized Steele but it doesn't prevent the other spirits from following the reporter and slamming the gate shut behind him, impaling him on one of its spikes. Their voices keep repeating, "We need your blood. Now you are one of us." In fact, there is no blood from the puncture of the spike and nobody around to drink it. And if the spirits can wander around at will outside the castle, what's to stop them from wafting into London and treating themselves to a real repast of Dickensian losers?
And, not that it matters much, but the elderly fellow who owns the castle shows up with Poe at dawn to pick up the reporter and they find his body held upright against the gate. Both Poe and the owner are properly shocked. Yet, what is the owner playing at? He seems to know nothing of what's up, but he sends the ghosts a fresh victim on the same night of every year?
Riviere keeps checking his anachronistic pocket watch to see how much painful time has passed. I felt his pain. Castle of Tedium.
Want to see a good, scary movie without a cascade of gore? Watch "Dead of Night." Want to see a good, scary, CHEAP movie? See "Carnival of Souls."
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