Review of Blood and Black Lace (1964) by Jarett B — 20 Jan 2012

Finally, another brilliant giallo! Bava's film is nowhere near as gory as the thrillers I'm used to, but that is ok, he is a pioneer of the genre. He knows how to create tension and insane plot twists, all filmed as if it were a poem (or something lofty like that).

Jan. 20/12 - To think that this is Bava's first color film is at once astonishing and yet logical. If it's your first time using color, why not go big or go home? The reds, greens, and blues foreshadow Argento's "Suspira" by over a decade. Perhaps, I've been hailing the wrong Maestro all my life? From the colors, the gloved handed killer, savage slayings, and lingering tracking shots, Bava predates Argento not only in years (obviously) but originality as well. The one thing Bava didn't have is a Goblin's soundtrack, although the jazzy scores on this film and "The Girl Who Knew Too Much" emphasis all that is the 1960s. After watching "The Girl Who Knew Too Much" and "Blood and Black Lace" back-to-back, there is no doubt in my mind (despite historians) that "B&BL" is the first Giallo, thus making Bava it's father and Argento the son.