Synopsis
Makes you shiver & shake!
A 20th century European village is haunted by the ghost of a murderous little girl.
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Kill, Baby... Kill!
Cast
Director
Producers
Writers
Story
Editor
Cinematography
Assistant Director
Camera Operator
Additional Photography
Set Decoration
Composers
Roman Vlad Franco Mannino Francesco De Masi Angelo Francesco Lavagnino Armando Trovajoli Carlo Rustichelli
Sound
Costume Design
Makeup
Hairstyling
Studio
Country
Language
Alternative Titles
Curse of the Dead, Don't Walk in the Park, Operation Fear, Kill Baby Kill, Die toten Augen des Dr. Dracula, O Ciclo do Pavor, Curse of the Living Dead, Kill, Baby... Kill! ...Or Be Cursed by the Living Dead, Kill, Baby... Kill!, Opération peur, Operación miedo, 킬, 베이비... 킬!, Félelem hadművelet, Операция "Страх", 驱魔任务, Операция «Страх», Operacja strach, 呪いの館, Prokletí smrti
Genre
Themes
Releases by Date
Theatrical
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Italy
08 Oct 1967
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USAPG
13 Mar 1970
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Germany16
26 May 1973
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JapanR18+
Releases by Country
Germany
13 Mar 1970
- Theatrical16
Italy
08 Jul 1966
- Theatrical
Japan
26 May 1973
- TheatricalR18+
USA
08 Oct 1967
- TheatricalPG
Popular reviews
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A town petrified by ghostly revenge, shadowy alleyways driping with fog, radiant lighting billowing through cobwebs, and Bava’s exquisite use of color framed with hallucinogenic cinematography—all climaxing together to create one of the best displays of gothic atmosphere I’ve ever seen. Chilling, unsettling, and damn beautiful.
I watched this a few years back for the first time and I liked it just fine, but with each revisit I’ve fallen in love with so many different aspects of Kill Baby, Kill, especially after purchasing the new Kino Lorber blu Last fall—it was a total game changer, jolting my system into orgasmic ecstasy with a gothic horror meets acid trip atmosphere so perfectly controlled by Bava as he ratchets up the tension... slowly…
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i still think of Black Sunday as one of the best lit films of all time. perhaps my favorite black and white aesthetic next to kurosawa. but this was a revelation: bava has a supreme magic in how he can make darkness overflow with color, too. this is perhaps the most perfect wedding of virtuoso chiaroscuro lighting and brilliant color i've ever seen. the striking shots are countless. and the locations are brilliant. there's this pervading sense that they're hanging right at the edge of the world.
the long zoom out from a distant sun as night falls, until it is nothing but a glowing dot over the horizon. or the arms clutching candles (a nod to Cocteau?) in the…
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84/100
Bellowing, screeching winds and suspicious residents wander within luscious, radiant spaces; a town crumbling under the weight of curses and paranoia. Color paints and sings its way across a lonely town with secrets, practically engulfing its own atmosphere through multicolored mazes of exterior tunnels, interior passages and foggy, vividly textural cemeteries. Set design and camera movement each embody the aura of a restless specter, roaming and gliding across an environment which is representative of the last town on the face of the Earth. Nothing is even remotely familiar, even the genre cliches, because of Mario Bava's spin on the world of Gothic horror. It's all trickery, an arresting cinematic painting oozing with scare tactics and indescribably lucid images. Bava…
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Film 9/15 for BB and BC Podcast Movie Challenge November 2017
1 movie that English is not the native language
Oh, how I love this movie! I have seen it before (but never enough) but this challenge gave me the perfect opportunity to revisit it.
The plot involves a murderous young girl ghost who is terrorizing a village. Basically, if a townsperson sees her, they will die. So...she’s the OG Sadako, y’all! This movie is pretty much the perfect 60’s gothic horror film. I mean, if someone wanted me to recommend that type of film I’d almost definitely suggest this one. I’m not entirely sure why Black Sunday is the more well-known of Bava’s works. I mean, I love that…
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This is definitely the underrated gem of Mario Bava's filmography! Kill Baby Kill is a Gothic horror taking influence from the likes of Roger Corman's Poe cycle but spicing things up with plenty of Italian flair! The plot focuses on a coroner who travels to a village where strange murders have been happening. He faces fierce opposition from the local people as he tries to get to the bottom of the mystery. The strong point is certainly the atmosphere. Bava's use of colour is masterful. The village setting is spooky and provides an excellent location for a story like this. The central mystery escalates well and there's more interesting revelations to come even after the initial reveal. The melodramatic acting bodes well with the striking score. Theres plenty of disorientating scenes - the spiral staircase section towards the end is a particular highlight! Overall, it's great stuff despite being overshadowed by more popular Bava efforts.
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Surrealist Bava firing on all cylinders. Pre-black glove Giallo that proves Bava was mastering atmosphere, color and style well before his successors.
So amazing. -
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Looking through some trivias and other information I could find, this Mario Bava's movie apparently went to influence everything from the style of Suspiria to even the visuals of The Last Temptation of Christ were heavily influenced by this movie. The use of striking zoom ins, the closeups, even the allegories that comes with the evil child. It also does a great job of blending the murder mystery with the supernatural elements, with most of the investigative work done by common people - in this case a doctor who seeks to make an autopsy of a woman who died in mysterious circumstances just to find himself dealing with supernatural forces that aims to destroy him and the town.
The acting…
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94
One of those "made for me" movies - just a scrumptious unraveling of Gothic atmospherics, dynamic performers, subterranean set design, and spine-tingling images. Begins as an apocalypse and ends on two gigantic, melodramatic gestures. There's still hope, even for a ghost town.
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The science/supernatural material becomes an excuse for Bava's desistabilizing images. The surface beauty of every shot giving away for a world breaking down.
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Fantastic to look at, with sumptuous colour, light and shadow bringing to life the interiors of the Villa Graps; its neon-lit spider webs and fog-wreathed catacombs. The aeriel shots of the central spiral staircase are just gorgeous, half in green and blue gel light, half in deep shadow. It's weaker in the story department. Starts off intriguingly, with a doctor arriving in a shunned village to perform an autopsy on a local girl who died in mysterious circumstances. As the nature of the curse that caused her death is revealed though, it becomes a recycling of well-worn horror tropes - a haunted house, a ghostly girl and a creepy bouncing ball.
Everything about this is very Hammer, from the set…
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Melissa, Melissa, Melissa... Every scene involving that girl is such frightening stuff. You watch enough horror movies and you pretty much become immune to any "scary stuff", but this movie still scares the bejesus out of me! Goosebumps every time! There's just so many amazing scenes, hard to single out only one or two. Melissa peeping in the windows, swinging in the graveyard, her disappearing dolly, the hallway scene with her and Paul, the ball bouncing over the dead body, her running down the spiral staircase. And on and on and on. Every scene is a thing of horrific beauty, shot in a way only Bava can capture. And the sequence with Paul running through the same room over and…
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