Halloween Recommendation: “Kill, Baby, Kill”
Horror fiction comes in a lot of different flavors: ideal Halloween horror is, I think, suitably scary, but not oppressively dire. It’s a fairly festive time of year, after all. I want to watch or read something that makes my skin crawl, but not necessarily something that makes me want to weep for humanity. I have no problem with “heavier” horror stories, but there’s a time and place for everything, and I’m not sure Halloween is quite the time for Ligotti levels of super-grim, gut-punching, mind-chewing horror. That said, everybody’s tolerance level for that sort of thing is different, so just bear all of that in mind as I pitch these books, movies and random other things to you for the rest of the month.
Enough preface and yammering: Today’s recommendation is Mario Bava’s film Kill, Baby, Kill. The title sounds worthy of a ridiculous exploitation flick, something involving bikers and revenge and scantily clad women. But it’s actual a period-piece horror flick set in a small European village where people are dying (or, more specifically, killing themselves) under mysterious circumstances. Well, not so mysterious to the locals. They have no illusions about what’s causing these deaths. But there are a couple of newcomers in town who will need some convincing that what’s taking place is supernatural.
Bava, for any who may not know, was basically the grandfather of the Italian horror boom of the 60’s and 70’s. His most famous horror film (and likely most famous in general) is the black and white gothic horror flick, Black Sunday. But Kill, Baby, Kill is, for whatever my opinion is worth, the better movie. Hell, Scorcese calls it Bava’s masterpiece, so it at least has that going for it.
The story of Kill, Baby, Kill is wonderfully simple: there’s a vengeful spirit in town that is liable to surface and kill anyone who goes into the wrong place, or who speaks of the ghost aloud. A doctor and a prodigal daughter come to the town at the same time as the latest kill and are immediately entwined in the mystery. Don’t expect any plot twists or developments you haven’t seen before, but that’s kind of beside the point. The fun here is in the execution and the visuals. Bava paints the picture with colors that are beautifully lurid, and luridly creepy. In some scenes it’s almost like a gothic, golden-age comic come to life. Bava has all sorts of eerie fun with shadows, contrast, giggling ghost girls, spiral staircases, creepy dolls, and a brief chase scene that pops up out of nowhere in the middle of an already surreal moment that finally drives our stoic lead over the edge. The special effects are patently practical, and all the more effective because of that.
For all the death and omnipresent dread saturating the atmosphere of the film, it’s not a dour picture. In fact, it has its moments that some might call campy. I simply think it has gusto. If you were waiting for the weekend to kick off your early October, Halloween horror binging, Kill, Baby, Kill isn’t a bad place to start. And at less than 90 minutes, it will fit nicely on either end of a double-feature night. For those of you with Netflix, it’s currently available to stream. So stop reading and go put it on your viewing list.
I’ll be back soon with a fresh recommendation.