Baron Blood (1972) User Reviews

Eerie and Spooky

[claudio_carvalho · 7/10 · 8 October 2018]

After the completion of his master's degree, Peter Kleist (Antonio Cantafora) travels to Austria to spend a leisure period doing nothing. He is welcomed in the airport by his uncle Dr. Karl Hummel (Massimo Girotti) and he asks if he could visit the castle of his ancestor, the evil Baron Otto von Kleist a.k.a. Baron Blood. In the Sixteenth Century, the sadistic baron was cursed by a witch Elisabeth Holle that he had burned at the stake and then he was killed by the locals in his Castle of Death. Peter meets the gorgeous Eva Arnold (Elke Sommer) that works restoring the castle and invites her to go with him to the castle after dinner to read an incantation written in an ancient parchment that would evoke the family course and bring the Baron back to life. After reading the magic words, the wind blows the parchment to the fireplace and it burns. When villagers mysterious disappear and Eva is chased by a weird man, they realize that they have released the Baron and they do not have the parchment anymore to call the incantation off. Their hope is that the clairvoyant and medium Christina Hoffmann (Rada Rassimov), who is a descendant of Elisabeth, might help them.

"Baron Blood" is another eerie and spooky movie by Mario Bava. The uncanny story of curse, witchcraft and resurrection is very well supported by the predictable screenplay that works well, but the stylish cinematography, the lighting and shadows and the camera work with unusual angle are impressive and give a creepy and nightmarish atmosphere to the feature. My vote is seven.

Title (Brazil): "Os Horrores do Castelo de Nuremberg" ("The Horrors of the Nuremberg Castle")

Well done, but not one of Bavas' best horror films.

[Hey_Sweden · 7/10 · 22 July 2016]

Antonio Cantafora plays Peter Kleist, a young American who travels to Austria to research his heritage. There he hooks up with his uncle Karl (Massimo Girotti), a professor, and a very sexy blonde woman, Eva Arnold (Elke Sommer). Although we know right away that he'll be playing with fire, he and Eva recite an incantation that will help to resurrect Peters' ancestor, the Baron of the title. "Baron Blood" was a 16th century sadist who tortured victims in a dungeon, and now he stalks the family castle that has been purchased by an eccentric old American man, Alfred Becker (Joseph Cotten).

When it comes to technical execution, director Mario Bava is firing on all cylinders here. Paying tribute to the Gothic horror films that were so popular in the 1930s and 40s, and infusing the plot with a gory 70s sensibility, Bava creates a visually sumptuous, striking entertainment. The castle setting is just as good as anything seen in horror films of decades past, and naturally the Technicolor process really helps to bring it to life. The lighting (by Bava himself, uncredited) and use of camera angles are exemplary. The music by Stelvio Cipriani is effectively moody. There are some wonderful moments, but overall "Baron Blood" is not as thickly atmospheric as Bavas' best horror films. What prevents it from really being great, though, is that the plot just isn't that interesting. The big "twist" is obvious right from the start.

The performances are sound. Cotten is amusing, and Cantafora and Sommer sure do make a good looking pair. Girotti is superb, as is Luciano Pigozzi as the weaselly Fritz and Umberto Raho as the standard issue police inspector character that we always expect to see in stories like this. That's a very young Nicoletta Elmi playing Uncle Karls' daughter.

Certainly this is worthy viewing for any fan of Bava or Italian horror in general.

Seven out of 10.

Gothic horror at an Austrian castle

[Wuchakk · 6/10 · 18 November 2019]

Taking a break from his college studies, Peter Kleist (Antonio Cantafora) flies to Austria to get in touch with his heritage. He learns that his notorious ancestor was nicknamed "Baron Blood," a sadist cursed by a witch he burned to death. After meeting Eva (Elke Sommer) they playfully read an incantation at his family's castle and inadvertently bring the infamous Baron back to life, which is when people start dying. Joseph Cotton is on hand as a mysterious wheelchair-bound man who purchases the chateau at auction.

The original Italian title of Mario Bava's "Baron Blood" (1972) is "The horrors of Castle Nuremberg" (translated), which describes the film in a nutshell. In style & content it places just between Hammer gothic horror and the soon-to-come slashers.

The best thing about the flick is its spooky castle ambiance, which brings to mind hallowed horror like "The Terror" (1963), "Bloody Pit of Horror" (1965) and "The Devil's Nightmare" (1971). It's superior to the hammy "Bloody Pit," but pretty much on par with the other two, although I prefer them for various reasons. This one's marred by nonsensical script elements concerning the witch's curious curse & the Baron's unexplained abilities. Nevertheless, it's a top contender for gothic horror atmosphere.

Antonio Cantafora looks like the Euro version of Peter Fonda, albeit less formidable (physically). Meanwhile feminine charms are limited to Elke Sommer, unless you favor witchy women like Christina/Elizabeth (both played by Rada Rassimov, who resembles Celine Dion). Little redhead Nicoletta Elmi (Gretchen) would grow up to be a striking minor actress.

The film runs about 1 hour, 37 minutes, and was shot at Burg Kreuzenstein (castle) and Klosterneuburg (street scenes) & Korneuburg in Lower Austria, as well as Vienna. Writer Vincent G. Fotre was a professional tennis player who dabbled in scriptwriting.

GRADE: B-/B

Very Good Bava Film

[eibon09 · 20 February 2001]

The closet thing to a remake of Mask of Satan(1960) that Mario Bava ever did was this film. The plotline is the opposite of Mask of Satan(1960) where in this film the witch is not evil. Gli Orrori del Castello di Norimberga/Baron Blood(1972) is an atmospheric supernatural thriller with marvelous cinematography and some good scare scenes. The main source of inspiriation for Baron Blood(1972) is Antonio Margheriti's The Virgin of Nuremberg(1963). Its interesting that Baron Blood(1972) takes place in the birth country of Adolph Hitler. Baron Otto Von Kleist seems to symbolize the atrocities committed by the nazis during the mid 1930s to mid 1940s.

Mario Bava did Baron Blood(1972) right after the controversial blood letting of A Bay of Blood(1971). Baron Blood has some gore scenes but without frequency and show stopping manner of Mario Bava's previous film. Baron Blood was the first and only time that Mario Bava did a film away from home as he didn't like to leave Italy. The music by Stelvio Cipriani is very good. The chase scenes in the film are some of Baron Blood's most exciting scenes. The death of Fritz is a reference to La Maschera del Demonio(1960) and Sei Donne Per L'Assassino(1964).

Elke Sommer doesn't do much in the role of Eva but she does look arousing in short dresses and mini skirts. Elke Sommer would give a much better performance in her next film for Mario Bava called Lisa E il Diavolo/Lisa & the Devil(1974). Joseph Cotten's performance as the evil Baron Otto Von Kleist brings to mind his role as the "Merry Widow Murderer" in Alfred Hitchcock's Shadow of a Doubt(1943). Baron Blood(1972) is not in the same league as the best of Bava's supernatural films such as La Maschera del Demonio/Mask of Satan(1960), La Frusta E il Corpo/Whip & the Body(1963), Operazione Paura/Kill Baby Kill!(1968), and Lisa E il Diavolo/Lisa and the Devil(1974) but is still better than any horror film from Hollywood from the 1990s til now. The set designs for the castle are excellent. The mysterious figure that appears on top of the castle at the end of the film gives me chills everytime I watch this movie.

Typical of the genre, but memorable and visually-impressive.

[Muldwych · 6/10 · 1 January 2008]

Imagine you knew the incantation that would bring Dracula back to life. Sure, he had a habit of murdering people from time to time, but wouldn't it be really amazing to see him in the flesh? This is essentially the premise of 'Baron Blood', although the dreaded Otto Von Kleist of the tale is far more Vlad than Dracula - a man who would happily spend the afternoon strapping someone to a rack and cutting their fingers off as we would spend it renting a DVD. Flash forward to the 20th century, where his great great great etc grandson Peter, who decides to pay a visit to his homeland of Austria during a gap year to get in touch with his roots, stumbles across just such an incantation. The chance to meet his infamous ancestor: who could resist?

Director Mario Bava shows what competent continental rivals to Hammer studios could do with the same formula. Classic horror aficionados will find much to compare, with the same ancient evils resurrected plot wise, the same helpless busty heroines, and the same near blackness films of the 70s often had, forcing the viewer to reach for the brightness control. There is even the obligatory witch to pull the story several notches away from horror in the direction of the occult, evoking "Cry Of The Banshee" to name one British contemporary. Yet despite being typical of the genre, 'Baron Blood' stands out in a few areas. Bava takes us to a real Austrian castle, the magnificent Berg Kreuzenstein, which oozes character all its own. It's also set in then-present day Austria. Hammer would often take us back a century for the action, although to be fair, this was already the era of Dr Phibes, which showed a monster in the 20th Century would probably scare the viewer more. Then, if you've got the US version, there's Les Baxter's soundtrack, which strongly suggests he didn't know it was a horror film. Why, was Stelvio Cipriani's original score deemed to scary for Americans, i.e - doing what it was supposed to do?

On the acting side of things, the cast do a fair job. Nothing award-winning, but they have just enough conviction to make you believe them. Rising above this however is the exceptional Joseph Cotton, as the mysterious Alfred Becker, a millionaire who suddenly appears out of the ether to buy the baron's castle. Given that the script is not one to hide its twists very well, Cotton is a welcome compensation. You can't help but look at him whenever he appears, wondering what he'll do next.

Overall, 'Baron Blood' breaks no new ground, but gives the genre fan most of the things they would expect, with some excellent location work and a memorable villain into the bargain. English-language viewers may scratch their heads at the mystifying score, but don't let it put you off - this is just the ticket for late-evening viewing.

ridiculous, but stylish and amusing

[ThrownMuse · 6/10 · 8 December 2004]

Peter goes to Austria to relax after getting his MA and to..."find his roots." He stays with an uncle who shows him the castle that belonged to his dead ancestor (aka Baron Blood), who was notorious for his torture chamber. He meets an architecture student named Eva and they find out the Baron was cursed under a witch's spell. So they decide to invoke the Baron's spirit. Why? Because Peter can't pass the chance to get to know one of his ancestors. Really. This is the worst Bava movie I've seen so far. Not to say it was bad. Baron Blood is very stylish and entertaining, gruesome, suspenseful, and the sets are great. The main problem is that the plot is absurd and the characters and their apparent motivations are extremely stupid. The horrid 70s song that opens and closes the movie should have never been recorded. My Rating: 5.5/10

Baron Blood

[Scarecrow-88 · 7/10 · 4 June 2007]

Peter Kleist(Antonio Cantafora)pays a visit of leisure and relaxation to Austria where many of his ancestors once lived. He's quite fascinated with a notorious figure in his family ancestry, that of Baron Otta von Kleist who was known for torturing innocents in his chamber of horrors in his castle for pleasure. In myth, a witch named Elisabeth Hölle evoked a curse on "Baron Blood" which resulted in a horrible death..a parchment was created which could bring him back from the dead and is discovered by Peter and Eva(Elke Sommer, nice-looking pair of legs, but terrible performance), an assistant to Mayor Dortmundt(Dieter Tressler)who is seeing the transformation of the notorious castle into a hotel. Peter and Eva, as a joke, evoke the incantation on the parchment releasing the evil spirit of Baron Blood to kill again. Soon Dortmundt's neck is snapped like a twig hanging by his throat from a rope Baron had prepared, while a poor caretaker named Fritz(Luciano Pigozzi)gets spiked by a horizontal version of the Iron Maidan. Even a medical doctor, with only the kindest intentions, gets stabbed in the throat..Baron Blood takes no prisoners, he executes them with a vile pleasure. Soon, the castle is up for auction with the mysterious Alfred Becker(Joseph Cotten, with this cat-like grin as if hidden behind his eyes is a devious intent)purchasing it. Meanwhile, Eva's life is threatened, in the flick's best, most inspired sequence(an expertly photographed chase sequence with immensely stylish lighting taking the utmost advantage of the street lights and how they can create the greatest atmosphere through fog and trees following Elke around building corners among other angles)where she runs for her life as the Baron chases her. This chase actually started when Eva went to visit Alfred showing him a quilt she found that might suitably fit within the castle he is renovating. She finds the Baron(his grotesque face and charred, crushed hands trying to grab her)as he darts for her ready to kill one of those who he feels has a chance to send him back to whence he came. Peter finds her, taking Eva home, but guess who is waiting for her? They seek help from Dr. Karl Hummel, quite a mathematical mind, a scientist who hadn't believed the story until Eva's life was threatened, who sets up a visit with a clairvoyant. This clairvoyant's name is Christina(Rada Rassimov)who is a medium between the living and the dead. She has the ability to call Elisabeth Höll from the spiritual realm for guidance at how to defeat Baron Blood..she informs them that he can only be destroyed by those who he himself destroyed. Christina hands them an amulet and sends them on their way. When Karl's niece is possibly threatened Peter, Eva & Karl decide to warn Alfred, who is wheel-chair bound, but..the little girl may possibly deliver them clues to who might actually be Baron Otto von Kleist if they put together reasons why it might just be who they never might expect.

Despite a terrific castle setting and some magnificent Gothic sequences showing the exercise in style always on display from the master artist Bava, the premise is old-hat and story rather silly..especially the conclusion which undermines such terrific atmosphere set-up throughout. Some awful musical accompaniment on the soundtrack reminding us of it's 70's roots doesn't help matters. There is still enough here to satisfy Bava faithful and a solid villain certainly helps. The supernatural aspects may be the film's main Achilles' heel. The most unintentionally hilarious aspect could be that the protagonists figure out the identity of Baron Blood from a little girl.

Where did you get that hat? Where did you get that hat?

[Bezenby · 7/10 · 12 December 2017]

It might not be top tier Bava, but any Bava is still highly enjoyable. This is one of your more straightforward plots concerning a sadistic evil baron brought back from the dead by accident. In fact, it's so straightforward I kept waiting for a twist that never actually occurred.

It's the evil Baron's distant direct relative who unleashes the grumpy undead bastard. He's one of these know-it-all young seventies gents who just has to revisit his family tree by going back to his home in Austria, getting an incantation, talking a sexy Euro babe (Elke Sommer) into helping him, then indirectly burning the parchment that could possibly send the Baron back to his grave.

I've probably watched too many Italian films set in Castles and/or huge mansions, but while this rotten faced murderer was going around pouncing on folk, I couldn't help but think that it was all a Scooby Doo type ruse by someone in disguise to get some sort of inheritance. I was wrong, though. There really is an undead aristocrat on the loose – but what has wheelchair bound Joseph Cotton got to do with it?

Yep, it really is an undead monster on the loose film, but it's one directed by Mario Bava, so you get immaculate cinematography and colour schemes, a dark atmosphere (especially during the bit witch Rada Rassimov channels the spirit of the Baron's old enemy, plus the sight of impaled people on the battlements of the castle), and some properly tense scenes, for example Elke Sommer being chased by the Baron through fog-filled streets.

The ending's a good one too – I can't argue with the undead rising (is this a case of Bava being ahead the pack again?). This one goes down a bit too smoothly, but others rate it as one of Bava's best, so it's just a case of taste. I'm a big fan of his last film, Shock, and I'm sure others are down on that one.

Also - you can't go wrong with a zombified Luciano Pigozzi! I suppose most people also point out that this isn't as gory as some of Mario Bava's films too.

Not-so-super Mario.

[BA_Harrison · 4/10 · 22 October 2018]

Peter Kleist (Antonio Cantafora), descendant of cruel tyrant Baron Otto von Kleist (Joseph Cotten), travels to Austria, where he visits the home of his ancestors, a grand castle being converted into a hotel. Together with beautiful architecture student Eva (Elke Sommer), Peter sneaks into the castle late at night where he stupidly reads aloud an incantation that brings the sadistic Otto (known as Baron Blood by the locals) back to life.

To date, I have only seen a handful of Mario Bava's movies (I've actually watched more films directed by his son Lamberto), but, based on those, I cannot see what all the fuss is about: I found A Bay of Blood, Five Dolls for an August Moon, and The Whip and the Body reasonably entertaining, and Black Sunday was passable, but I hated Lisa and the Devil (as well as the re-edited version, The House of Exorcism). Nothing I've seen thus far stands out to me as being the work of a genius, and Baron Blood doesn't change this fact.

Bava's direction is undeniably stylish, with inventive camera placement and movement, plenty of atmosphere, and strong use of lighting (a chase scene through fog-shrouded streets providing the film's most impressive visuals), but his storytelling is weak, the pacing is dull and he is unable to coax a decent performance from lovely leading lady Elke Sommer, whose overacting undermines any of the director's more effective touches. If Bava had dialled up the craziness with some outrageous gore and a spot of nudity, it would be easier to forgive the tired and rather silly plot (would someone willingly bring a murderous ancestor back from the dead out of curiosity?); as it stands, this is yet another disappointment from the so-called master of Italian gothic horror.

Offbeat Maria Bava horror picture full of eerie appearing , grisly killings and vivid imagery .

[ma-cortes · 6/10 · 19 August 2020]

Outlandish , sick Mario Bava terror flick , it contains thrills, chills, gory effects, scary happenings and high body-count . A young man called Peter (Antonio Cantafora or Michael Coby) goes back to Austria , there he is greeted by his uncle , Karl Hummel (Massimo Girotti), who invites him to stay at his house . After that , both of them visiting the castle of a murderous ancestor , he was the Baron Otto Van Kleist (Joseph Cotten , though at the beginning Vincent Price was approached to play him but he turned down) , a sadistic Baron who was cursed to a horrible death by a witch whom the Baron had burned at the stake . Shortly after , Peter befriends Eva (Elke Sommer) , a history scholar , both of whom go to the eerie castle and read aloud an ancient incantation inside the bell tower . It accidentally brings his dead relative back to life and searching for new victims . Later on , the impressive castle is offered in auction being bought by the cripple Alfred Becker (Joseph Cotten) and then things go wrong when appearing the horrible Baron while continuing his murderous tortures . The movie advert contains sympathetic gimmicks : ¨Special notice : The management disclaims any responsibility for patrons who suffer (A) apopletic strokes , (B) hemorrahages , (C), or (D) Fainting spells during the shockingly gruesome scenes in this film¨. Your Blood Will Run Cold and BoxOffice Hot when "BAR0N BLOOD" comes to town! Positively the most horrifying film ever made...He sought the ultimate in Human Agony ... with instruments of Torture ghastly beyond belief!

Thrilling Italian horror with Mario Bava typical characteristics displaying chills , shocks , violence and torture . Nice terror movie revolving around a haunted castle plot with plenty of murders , eerie appearance by a preternatural being , creepy torture and ghastly events . Set at a ghastly castle where happens scabrous and horrifying events . In spite of a few escenarios and its medium budget the picture is decent , 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 . This Italian production has Joseph Cotten as a baron who lures his victims at his foreboding castle in order to go on a criminal spree , his makeup was created by the subsequently very popular Carlo Rambaldi , ¨ET's creator¨. Stars the unknown actor Antonio Cantafora who used to use pseudonym Michael Coby , starring some lousy Spaghetti Western . And the gorgeous Elke Sommer shining in her strident mini-shorts , here she became a Scream Queen along with ¨Lisa and the Devil¨ also directed by Mario Bava . This is an acceptable and passable terror film , but no extraordinary ; in fact , Mario Bava directed much better other terror classics . Although packing some good shock images , this Baron Blood doesn't live to its source material .

It packs a colorful cinematography by Antonio Rinaldi as director of photography and Mario Bava himself , though uncredited , shot between september and noviembre 1971 in Burg Kreuzenstein , Austria , at a fairy-tale fortress , near valley of Danube . As well as frightening and suspenseful musical score by Stelvio Cippriani , though the American version was composed by Lex Baxter . The picture was professionally directed by Mario Bava in his usual style , but it has some flaws and gaps . Bava uses his ordinary visual tricks, sustaining interest enough through the fantastic and well-designed scenarios and when there shows up the creepy and scarred Baron who definitively steals the show . Bava was an expert on terror movies, such as : "I vampiri" codirected by Riccardo Freda , "Black Sunday" with horror myth Barbara Steele, "The Whip and the Body" with Christopher Lee, "The girl who knew too much" considered to be the first Giallo, "Black Sabbath" with Boris Karloff, "Planet of Vampires" with Barry Sullivan , "Kill baby kill" , "Hatchet for the honeymoon" , "5 dolls for an August Moon" , "Torture of chamber of baron blood" with "Lisa and the Devil" with Telly Savalas and his last one "Schock" . Though Bava also made other genres as Peplum : "Hercules in the haunted world" , sex comedy : "Four times that night", Viking movie : "Knives of the avenger" and Oriental fantasy : "The wonders of Aladdin" . The picture will appeal to terror genre buffs. Rating 6.5/10.

Even the greats have their bad days

[Falconeer · 4/10 · 28 October 2006]

Mario Bava is responsible for some of the the most chilling, and most beautiful horror films of all time. That is why I found his 'Baron Blood' somewhat of a letdown. Although some of the cinematography is appealing, especially the beautiful old castle, the movie mostly comes across as silly, and not scary at all. The story is a tired one, and it looked as though Bava was just going through the motions here. And as much as I loved Elke Sommer in the infinitely superior "Lisa & the Devil", I really grew tired of her hammy acting and constant screaming here. It was as though she read the script and somehow knew that it wasn't on par with "Lisa", so she perhaps did not give it her best effort. If you are curious about the great Mario Bava, this is not the film to start out with. I recommend his other works, such as the gorgeous and bizarre S&M laced "Whip & the Body", or the understated and creepy "Kill, Baby, Kill", or of course, "Black Sunday", the b/w Gothic horror masterpiece. 'Baron Blood is unfortunately, one of Mario Bava's weakest films.

An excellent tribute to the classic Hollywood horror films of the 1930's

[k_t_t2001 · 8/10 · 2 February 2005]

Mario Bava's BARON BLOOD is a fine a tribute to the monster movies of Hollywood's golden age. So evocative of that period is this film that it takes not even a moment's thought to mentally recast Boris Karloff as the Baron, Nan Grey as his intended victim and to tune away the vivid Technicolor into haunting black and white.

As in FRANKENSTIEN or THE MUMMY, the evil in the film is unwittingly unleashed upon the world by the film's hero. In this case it is American Peter Kleist, who returns to the German castle of his ancestor Baron Otto Von Kleist. Even though he is aware that his ancestor, nicknamed "Baron Blood" was a sadistic monster who butchered and tortured the people of the countryside, Peter foolishly recites an ancient spell capable of resurrecting the Baron. The restored Von Kleist immediately resumes his homicidal ways, and now Peter, assisted by the beautiful Elke Sommer as a local historian, must find a way to undo what he has thoughtlessly wrought.

In the classic horror films of the 1930's the monsters were iconic and unforgettable, while the heroes were bland and almost entirely irrelevant. After all, who remembers who played the "hero" opposite Lugosi in Dracula or Karloff in THE MUMMY? (For trivia's sake it was David Manners in both films.) No, the villain/monster may have spent much of the picture lurking about off screen, or skulking in the shadows, but nevertheless he was always indisputably the star of the show.

BARON BLOOD maintains this link to its cinematic forbearers. Antonio Cantafora's Peter Kleist is satisfactory, but eminently forgettable, while Joseph Cotton, obviously having a ball, is terrific in his villainous role. Cotton's performance as the resurrected Von Kleist is spot on perfect, filled with evil charm and malevolent glee. He dominates the screen in the best tradition of the movie monsters of old.

In fact, there is only one significant departure from the classic monster films. Even in the days before the Hayes Commission, blood and gore were rarely seen and usually only suggested in Hollywood motion pictures. BARON BLOOD was produced without such restrictions and, though mild when compared to more recent horror films, it does contain some explicit moments that would have been completely unacceptable in the 1930's. Even as a tribute to the grand old days, it must remembered that BARON BLOOD was produced to appeal to a contemporary 1970's audience. Bava however realized that things modern will inevitably intrude upon the classic, and made light of this by placing soda pop machines in the halls of the Gothic Von Kleist castle and having prerecorded screams available in the Baron's torture chamber at the flip of a switch.

Not as arty as LISA AND THE DEVIL, not as graphic as BAY OF BLOOD, BARON BLOOD is often unjustly overlooked, or simply dismissed as a minor effort of Mario Bava's later period. Such hasty judgments do the film a great disservice. If BARON BLOOD has less of the striking cinematography of Bava's best films, it must be argued that such innovation would be out of place in a film striving to recapture the look and atmosphere of the original Hollywood horror movies. If one accepts the movie for what it is, a fine tribute to the genre's past, then BARON BLOOD is a great success, both as a homage and as work unto itself.

BARON BLOOD has been released in numerous VHS and laserdisc editions. The DVD release from Image Entertainment is probably the best example of the film currently available, featuring an uncut 1.85:1 widescreen presentation of the film, complete with the original European musical score, which was replaced when the film was released theatrically in North America.

Eerie and Spooky

[claudio_carvalho · 7/10 · 14 July 2009]

After the completion of his master's degree, Peter Kleist (Antonio Cantafora) travels to Austria to spend a leisure period doing nothing. He is welcomed in the airport by his uncle Dr. Karl Hummel (Massimo Girotti) and he asks if he could visit the castle of his ancestor, the evil Baron Otto von Kleist a.k.a. Baron Blood. In the Sixteenth Century, the sadistic baron was cursed by a witch Elisabeth Holle that he had burned at the stake and then he was killed by the locals in his Castle of Death. Peter meets the gorgeous Eva Arnold (Elke Sommer) that works restoring the castle and invites her to go with him to the castle after dinner to read an incantation written in an ancient parchment that would evoke the family course and bring the Baron back to life. After reading the magic words, the wind blows the parchment to the fireplace and it burns. When villagers mysterious disappear and Eva is chased by a weird man, they realize that they have released the Baron and they do not have the parchment anymore to call the incantation off. Their hope is that the clairvoyant and medium Christina Hoffmann (Rada Rassimov), who is a descendant of Elisabeth, might help them.

"Baron Blood" is another eerie and spooky movie of Mario Bava. The uncanny story of curse, witchcraft and resurrection is very well supported by the predictable screenplay that works well, but the stylish cinematography, the lighting and shadows and the camera work with unusual angle are impressive and give a creepy and nightmarish atmosphere to the feature. This is the first time that I see this movie and the IMDb Rating is underrated; I believe fans of horror movies will really like "Baron Blood". My vote is seven.

Title (Brazil): Not Available

Note: On 07 Oct 2018 I saw this film again.

Baron Blood Review

[ksj870 · 4/10 · 24 May 2014]

Mario Bava is one of the most respected names in all of horror, but BARON BLOOD is a weak link in his resume'. The plot, about a ruthless Austrian nobleman brought back to a semblance of life to take up his brutal ways once again, is serviceable enough, but it never comes to fruition. There is a real dearth of action, and while there are successful moments scattered throughout BARON BLOOD Bava cannot maintain suspense or drama. To his credit, Bava emphasizes atmosphere over gore, and the violence is surprisingly restrained and delicately handled, but there are no thrills.Characters are dull and unrealistic, and Joseph Cotton fails utterly in his turn as the resurrected Baron. Elke Sommer is better as the leading lady, and she's certainly easy on the eyes, and an extended chase scene in which the Baron pursues her through the eerily lit shadows is one of the few times the film begins to realize its potential. Sadly, Bava can't keep it going, and for the most part BARON BLOOD is tepid and dreadfully slow, culminating in an unconvincing climax that is satisfying only in the sense that it brings the tedium to a close.

Stylish but disappointing.

[Infofreak · 16 February 2002]

Mario Bava is one of the greats of horror cinema, but I wouldn't judge his importance by 'Baron Blood'. It isn't close to his best work. While stylishly directed (to be expected being Bava) and with plenty of atmosphere, it is low on both suspense and gore, and sets up a potentially dynamite premise (the resurrection of an evil Vlad The Impaler-like maniac hell bent on revenge), then goes nowhere much with it. One or two sequences are outstanding, but overall it's a major disappointment, and the usually excellent Joseph Cotton (who did some strong genre work in movies like 'The Abominable Dr Phibes' and 'Soylent Green') is a bit of a let down in the title role. Even so, no Mario Bava movie can be dismissed entirely, and for all its flaws it's still worth watching more than almost all of Hollywood's recent puerile and uninspired horror output.

Another great movie from Mario Bava

[eminkl · 7/10 · 14 December 2019]

His trip back to the terror of Gothic times. The visuals here are very good. Isn't Joseph Cotten sounding just like Vincent Price, funny? They originally turned him down for the role but he turned it down because he had previously had some problem with Bava. Much of this film is also influenced by House of Wax's 1953 version. Note how often the Iron Maiden appears in the films of Bava?

Nice Atmosphere

[Rainey-Dawn · 6/10 · 17 May 2016]

The one thing this film has going for it is a nice atmosphere for horror fans... fog/smoke, old castles, incantation for raising the dead, scary torture chamber, weird but well filmed scenes, a witch and, above all, a mad sadist ghost or demon! The story is alright enough, not to bad.

Joseph Cotten as Baron Otto von Kleist aka Baron Blood / Alfred Becker was good - he was better in this horror film than I anticipated (I really don't think of Cotten as a horror actor that's why I mentioned it).

One thing about these types of films - the living dead or undead always seems to have plenty of money - filthy rich they are! How does a long time dead man get such riches without selling off his gold? The money has changed over the years (I think in every country) so how can he spend it - sell it I suppose to those interested in old money I guess. Whatever, I still by into it for a movie. LOL.

Not a bad film to watch for fans of the older horror - in particular the Italian horror films.

6/10

Baron Blood/is rather good!

[Prichards12345 · 7/10 · 14 January 2017]

Inspite of a slightly thin plot I enjoyed Baron Blood a lot. The story concerns a resurrected revenant roaming his old but beautiful Austrian castle and attempting to hunt down the two people (one of whom is his descendant) who rather stupidly brought him back to life. Well, after reciting the spell once, and getting an obvious warning that the old baron is back, they do it again after returning him to his grave!

A good cast delivers decent performances but it's Jospeh Cotton that steals all the scenes. He doesn't appear until about 45 minutes in, but as it's in a shot that makes his head seem to float eerily among an auction house crowd (until it's revealed he's in a wheelchair!) we'll forgive him his late entrance! Cotton, fresh from Abominable Doctor Phibes, is on top form here.

The film itself is absolutely ravishing to look at - I'd very much like to visit the genuine Austrian castle where it was shot, and Bava pulls off several superb touches, while referencing an awful lot of old horror flicks.

Vincent Price was originally sought for the Cotton role, and it's obvious that the Baron's look is highly reminiscent of Price's look in HOUSE OF WAX. Indeed, Bava borrows the stalking scene from that movie, too. It also seems to have inspired the Doctor Death from MADHOUSE, which of course starred Price and was made about a year later. And those familiar with Val Lewton's films will easily spot the homage to THE LEOPARD MAN.

Nicely done then, although the story is pretty basic and needed a bit more depth. Can't type anymore, as prior to watching the film on blue ray I cut my hand slicing a bun! The old Baron would have enjoyed that!

Underrated Bava

[bensonmum2 · 7/10 · 4 February 2005]

While I prefer Bava's Black Sunday and Kill Baby...Kill, this is a good movie that I would highly recommend. Baron Blood combines the best elements of a good old-time ghost/haunted house story with a modern day slasher film.

All of Bava's trademarks are here - imaginative lighting, wonderful sets, and dramatic locations. Combined, they create the perfect horror movie atmosphere. Unfortunately, another Bava trademark is here as well - a weak script. There are some plot holes big enough the drive the Baron's castle through. But with Bava's style and skill as a director, the plot problems seem very minor.

The film concerns the evil Baron Otto von Kleist. After having been brought back to life, he continues the murderous ways of the past. There are some truly frightening moments in the film. (I'm not talking just creepy, I mean downright scary.) Examples would include the scenes involving the summoning of the Baron or Elke Sommer running from the Baron through the dark streets.

Speaking of the chase scene, films like Halloween or Friday the 13th were obviously heavily influenced by this movie. One could easily envision either Michael or Jason chasing Elke through the foggy streets.

not a good Bava flick

[trashgang · 5/10 · 11 December 2013]

I was looking forward to finally watch this on Blu Ray but at the end I must say that I wasn't happy with this flick. Maybe I guessed that I should see another La Maschera Del Demonio (1960) because that one did gave me the creeps due Barbara Steele's look and that Baron Blood also was stated as a Gothic horror. And being made in 1972 I thought that it would follow the gore of Reazione A Catena (Bay Of Blood 1971) but it never did.

It takes ages for the real horror comes in. Sure, the baron itself do reveals his face earlier but it didn't looked convincing to me. It's only at the end when the narration comes in that a small bit of horror shows the truth about the baron. Not only that, the iron maiden used referred me to his earlier flick, La Maschera Del Demonio. I was waiting and waiting until it all should or could happen. The creepy moments at the castle itself also didn't work out for me. Doors making noises and paintings with scratches doesn't make a horror. No, I was disappointed about this Bava flick. The two titles mentioned earlier surely provided what a good horror needs, but Baron Blood didn't.

Gore 0/5 Nudity 0/5 Effects 2/5 Story 2/5 Comedy 0/5

Beautiful but just OK

[preppy-3 · 6/10 · 16 August 2002]

A young man, Peter, goes to Austria looking for relatives. He also finds a huge castle being renovated which belonged to an ancestor of his...Baron Blood. Blood was an evil man who tortured and killed people until being killed himself. Unwittingly, Peter brings the Baron back from the dead. Then things really start getting bloody...

This is a review of the uncut version (which runs about 100 minutes) not the PG 90 minute version.

One of Bava's better horror films. It looks just beautiful, has an eerie atmosphere and moves fairly quickly (after a slow opening). There's also plenty of blood (most of it is missing from the PG version). As noted before, the opening half hour or so is slow and dull...but after Cotten shows up, things really get moving.

The bad parts: Elke Sommer--she looks great but is not a particularly good actress. She isn't terrible but she isn't good either...also, she has the worst scream I've ever heard! Cotten appears to be drunk during most of the movie and really chews the scenery again and again. The dubbing of everybody else is terrible! It's even worse than those Godzilla movies! And the plot is kind of vague.

Still, it spooked me, had some truly beautiful settings and lighting and enough blood for a horror fan like me. Worth catching...try to see the uncut, newly done print.

There's a Pit, but no Pendulum....

[mark.waltz · 5/10 · 19 February 2013]

The director of the frightening "Black Sunday' goes goth again with this modern day visit from an evil Baron from centuries before conjured up by two idiotic adults who know full well the consequences of such actions. This castle of evil, once the sight of hideous torture of a Vlad the Impaler like nobleman, is now a tourist haven even though the guests are basically barely seen extras. Once free from his eternal hell (brought about by a witch's curse), the Baron goes about with more evil, and the two young idiots set out to reverse their grave mistake before he send them to the grave.

There are some genuinely gripping horrors, particularly the plight of the insane groundsman trapped in a spiked casket. When the baron pursues an innocent young girl, you may find yourself on the edge of your seat. Joseph Cotten takes over the type of role that Ray Milland had been playing at the time, a wheel-chair bound mystery man who buys the castle. This isn't the classic of "Black Sunday's" caliber, and is missing the presence of someone like Barbara Steele. Elke Sommer is a stereotypical Fay Wray/Evelyn Ankers horror heroine, and when Baron Blood pursues her through the twists and turns of the castle grounds, the results are equally frightening.

The one laughable element of this poorly photographed thriller is the total inappropriate musical score that seems more fit for romantic comedy rather than grand guignol.

Glorious Mario Bava's horror film. **Spoilers**

[HumanoidOfFlesh · 9/10 · 6 March 2006]

This glorious Italian horror film made by Mario Bava concerns a young couple(Antonio Cantafora,Elke Sommer)who manage to revive a cruel sorcerer-Baron Otto Von Kleist(Joseph Cotten)from the 1500s.Posing as a cripple,the Baron assimilates back into society and buys back his old castle,where he begins torturing and murdering innocent locals in his dungeon.It takes an enchanted amulet to defeat him,as all his victims rise from the grave for revenge.Veteran filmmaker Mario Bava's direction is truly splendid,the cast features plenty of Euro-horror regulars including Massimo Girotti,Luciano Pigozzi and young Nicoletta Elmi and there are some memorable horror set-pieces for example we see scenes containing:disfigured characters,hanged people,characters locked inside of a torture device and a couple of crusty zombies.The film is stylish and offers plenty of wonderful Gothic atmosphere.The use of lighting is especially notable."Baron Blood" is definitely not the best Mario Bava's horror film,but if you are a fan of Italian genre movies or Hammer productions you can't miss it.9 out of 10.

masterpiece this isn't, but there are some things about it that you gotta love

[lee_eisenberg · 7/10 · 23 December 2012]

Mario Bava directed a number of masterpieces of European horror. "Black Sunday" is probably his best known, and "Black Sabbath" is another good one. "Gli orrori del castello di Norimberga" ("Baron Blood" in English) isn't any horror masterpiece. Its strength isn't in horror. In addition to the fine scenery, Elke Sommer wears some sexy outfits. That's how it is with most of her movies. I don't watch them for plot or acting. I just want to stare at her and develop lewd fantasies. Interpret the movie like that and you're sure to have a great time watching it. Bava went on to cast Sommer in "Lisa and the Devil" (also called "The House of Exorcism"). Good times.

Stylised comic strip gothic.

[parry_na · 5/10 · 19 April 2019]

Mario Bava is undoubtedly a huge and influential name in cinema. He has directed some inspirational movies over the years and even now, almost forty years after his death, his legacy is held in high esteem. So I realise I'm walking on thin ice by admitting that, on the whole, the genius of his work completely passes me by. I haven't seen all his films, but of those I have seen, only 1963's 'Black Sabbath' has really bowled me over. Other projects, like this one I'm sorry to say, make little to no impression.

Known very much for the visual flair he injects into his low budget films, he ensures many scenes here are generously lit. That is to say, there is much beautiful imagery on account of the many colours that spring from various areas and shadows. Lit up like a Christmas tree, you might say. And that is one of the issues I have with his direction - gaudy and striking these scenes may be, but any sense of realism comes a very distant second. Characters are swathed in psychedelic mists, every contour on their faces illuminated like traffic lights. This approach reduces everything to a stage set, with no sense of atmosphere, even when filmed in a real location. A 'heightened' reality then, and something you cannot really believe in.

This approach stretches to the performances too. There's a kind of subtle 'knowing' quality to the characters - again, like they aren't quite real. They don't react as a real person would react. And when the horror they are reacting *to* is also similarly stylised, I feel as if we are watching a fairy-tale, or a comic-strip. This approach works when a story I somewhat fantastical in and of itself (again, 'Black Sabbath' is a prime example), but it does not flatter what is intended to be a frightening, gothic thriller like this.

As a result, we get moments of jeopardy and gory scenes but no sense of tension or drama. Things happen in a colourful way, and then there is some talking before other events happen in a similarly cartoon-like manner.

I'm sounding less impressed with 'Baron Blood' (even the title sounds like a children's story) than I actually am, but these are the issues I find not only with much of Bava's work, but also some of those who have been influenced by him (Dario Argenta, Roger Corman and many of Tim Burton's recent projects) and, while some scenes are genuinely breath-taking, they are never remotely real, and despite some flashy camera effects and a committed performance from star Elke Sommer (and terrifically spooky Gretchen played by prolific 8 year old Nicoletta Elmi), this film is doesn't massively excite me. My score is 5 out of 10.