The Whip and the Body was a controversial film in its day. This was because of its scenes showing Christopher Lee sadistically whipping Daliah Lavi. These may not seem like so much today but back in the early 60's this was pretty edgy stuff to say the least. Nowadays, this film is celebrated mainly for other reasons; chief amongst them being that it is yet another stylish movie from the legendary Italian genre film director Mario Bava. It starts with a sadistic nobleman returning to his family home after years of banishment. He immediately starts pursuing his brother's wife in a lecherous fashion and before long they embark on a secretive sadomasochistic affair. The trouble is, he is soon murdered by a mystery assassin and to make matters even more complicated he subsequently seems to return from the dead as an evil spirit.
Like the other Gothic horror films directed by Bava, this one's strength isn't so much in its story as in its presentation. This director is remembered as a cinematic stylist and this is another of his films that illustrates why. It's visually beautiful with excellent compositions and cinematography allied to Bava's typically great use of coloured lighting. Of particular note are the scenes involving Lee's character returning from the grave in the dead of night. These are typified by kaleidoscopic colours and the emphasis on unusual details, such as spider-like hands. Adding to the atmosphere is a lush score from Carlo Rustichelli which was also partially reused in Bava's later cinematic milestone Blood and Black Lace (1964). It all adds up to a film so rich in style an atmosphere that it makes up for deficits such as its slow pace. It's basically yet another film that illustrates how brilliant and important a director Mario Bava was.
Like the other Gothic horror films directed by Bava, this one's strength isn't so much in its story as in its presentation. This director is remembered as a cinematic stylist and this is another of his films that illustrates why. It's visually beautiful with excellent compositions and cinematography allied to Bava's typically great use of coloured lighting. Of particular note are the scenes involving Lee's character returning from the grave in the dead of night. These are typified by kaleidoscopic colours and the emphasis on unusual details, such as spider-like hands. Adding to the atmosphere is a lush score from Carlo Rustichelli which was also partially reused in Bava's later cinematic milestone Blood and Black Lace (1964). It all adds up to a film so rich in style an atmosphere that it makes up for deficits such as its slow pace. It's basically yet another film that illustrates how brilliant and important a director Mario Bava was.