(1973/SPAIN/FRANCE)
REVIEWED BY-STEVE GENIER DIRECTED BY-JUAN ANTONIO BARDEM and CLAUDIO GUERIN CAST-VIVECA LINDFORS, RENAUD VERLEY, ALFERDO MAYO, CHRISTINE BETZNER, JUAN CAZALILA and SATURNO CERRA. SOURCE-PATHFINDER HOME ENTERTAINMENT (NTSC R1 DVD)(2005)
John who has spent the last little while in a mental asylum is released. His first intension is to seek revenge on his Aunt and her three daughter who are the very ones who had him declared insane. All this because of the inheritance left behind John’s mother. He first gets a job in a slaughterhouse, he not only learning the ins and outs, her observes for further use. Setting his plan of vengeance into play, there is one thing that stops him from completion, his Aunt. Though is it John that will have the last laugh?
There are many interesting aspects surrounding this film on a whole. Many of them are related to the production of the film itself and not during it. Aspects like the famous death of it’s co-director Claudio Guerin, who during the final few days left of production, he had fell to his death from the makeshift tower they had constructed for the film. Now, the question has long been did he jump or did he accidentally fall to his death? Another interesting aspect though it is much more positive then the death of Guerin is the employment of the famous Spanish writer/screen-writer, Santiago Moncada. Moncada not only wrote the original story, but was also employed to work the screenplay as well. He has be responsible for many classic genre pieces both in the Spanish and Italian cult cinema. Writing such scripts as HATCHET FOR THE HONEYMOON which of course was directed by Mario Bava, who also co-scripted the final draft. THE FOURTH VICTIM which is directed by Eugenio Martino and of course Sergio Martino’s classic giallo, ALL THE COLORS OF THE DARK.
The amazing thing or should I say the common theme with many of his scripts including A BELL FROM HELL, is Monada’s ability to fuse arthouse with horror without leaning more towards the other basically keeping a perfect balance between the two. A BELL FROM HELL is a perfect example of director perfectly dissecting script onto screen and keeping that perfect balance intact. Though unlike the heavy gothic overtones that Bava’s employed with HATCHET, A BELL FROM HELL only taps into it slightly. Just the perfect amount as there was really no real need for any heavy dosage giving the films storyline. Still, many scenes were quite moody and atmospheric in nature which as a result of the heavy arthouse influence. Eerie and stagnate in several scenes including the slaughter house. The slaughtering process of the cows certainly isn’t the perfect time to have dinner.
Most times seeing this stock-like footage of animals in a slaughter house really don’t bother me, but the same wasn’t in this case as the directors also employ the actual stock audio as well. So watching the cows being slaughtered teamed with the shear terror they were going through had a sense of gut wrenching sorrow and despair for a living being. It makes one think of all the terrible things that have been done to humans of the past little while as well. Especially that of the beheading in Iraq, but that’s as far as I go with the political mumbo jumbo. It’s incredible how given the right ingredients given to a reel of scenes and the effect they have. I think if that audio were to be different the scene would not nearly be as striking.
Several other elements play out quite nicely and help the overall smooth progression of the film itself. Director Bardem, who are gather had most of the power on the overall direction together with with the film's editor Magdalena Pulido employ several different and unique techniques throughout the film's many transitions especially that when John (Renaud Verley) has the three girls hooked up awaiting slaughter, of John making use of what he briefly learned while working at the slaughterhouse. The quick transitions used to have the viewer climb inside of John's thoughts as he is about to kill the three girls. Him prepping them up is closely and quickly montaged with his thoughts of the horrors while slaughtering the cows in the slaughterhouse. This scene in particular is quite powerful and a very important pinnacle in the overall film itself. The editing is not the only area that really stands out, the several different sets with it's lighting and angles really bring out a rich fullness to the film's storyline. The scene that really comes to mind is when John goes back in search of his Aunt who he thought would be dead laying in the wheelchair, mulched by the bees. The rain, the lighting and the overall atmosphere during this scene is quick spooky and very effective in creating a genuine chill.
A BELL FROM HELL employs a wonderful cast as well, with several actors who are quite established in this genre already with the likes of Alfredo Mayo who had been in a few gialli such as Sergio Bergonzelli’s IN THE FOLDS OF FLESH (1970) and in Tonino Valerii’s MY DEAR KILLER (1972). He had also starred in Manuel Cano’s 1973 horror entry VOODOO BLACK EXORCIST and Jesus Franco’s 1966 comedy/sci-fi romp ATTACK OF THE ROBOTS. We are also showcased with the very talented actress Viveca Lindfors who has had a much more successful acting run that has seen her star in many Hollywood based films as well. Films like THE EXORCIST 3, CREEPSHOW and STARGATE. Still. Viveca did dawn that cult genre cap and starred in lesser genre classic such as Simon Nuchtern’s 1984 horror film SILENT MADNESS, and of course Edward Mann’s 1970 horror film DEATH COMES FROM THE DARK.
The main attraction though has to be the very sexy Maribel Martin, who many would recognize from other films such as Vincente Aranda’s classic lesbian vampire film THE BLOODSPATTERED BRIDE (1972) and starring alongside the equally as lovely Cristina Galbo in Chicho Ibanez-Serrador’s LA RESIDENCIA (1969).One must not forget the likes of Juan Cazalila either, who has a very impressive back ground in Spanish horror. Starring in such other films as Chicho Ibanez-Serrador’s classic 1976 horror/mystery film WHO CAN KILL A CHILD? As well as Leon Klimovky’s giallo starring Paul Naschy A DRAGONFLY FRO EACH CORPSE (1974). Of course Cazalila had a wonderful run in a string of mainly Spanish spaghetti westerns earlier. Each of these actors certainly give their own presence to A BELL FROM HELL, one that seems to work quite smoothly. Of course the same goes for the rest of the cast.
The Pathfinder release of A BELL FROM HELL is pretty much a basic one, though not to knock the mere fact that this is in fact on the shinny format. Presented in a new 16x9 anamorphic wide-screen with a Dolby Digital audio track which is presented in either English, Spanish or French. Both visually and sound wise the print seems to be in great shape, especially the restoration of the print which really is the selling point of this rare Spanish gem. Sadly, there is little in the way of any ground breaking extras, only giving us a film background, biographies/filmographies and three alternates from the original Spanish print. This is where they needed to step forward in enticing any new viewers to this rarity. Also, it would be nice to see some present day interviews from those who were apart of the film’s production, cast or crew. Still, I must admit it’s just great to see a company take the chance of releases this lesser know film onto DVD.
STORY/FILM-3 BITCH SLAPS PICTURE-3.5 BITCH SLAPS AUDIO-3 BITCH SLAPS EXTRAS-2.5 BITCH SLAPS OVERALL DVD-3 BITCH SLAPS To Purchase this DVD, visit X-Ploited Cinema.
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