The Whip and the Body-La frusto e il corpo (1963)

Directed by: Mario Bava | 78 minutes | horror | Actors: Daliah Lavi, Christopher Lee, Tony Kendall, Ida Galli, Harriet Medin, Gustavo De Nardo, Luciano Pigozzi, Jacques Herlin

This Italian ‘The Whip and the Body’ (‘La frusto e il corpo’) was written by the well-known director Mario Bava in horror circles. What is repeatedly noticeable in his films is the atmosphere and style of filming, something that also occupies a large place in this 1963 production. First of all, Bava throws in a range of ingredients to give his film an uninspiring atmosphere: the dark contours of the Menliffs family castle on the coast, the rushing sea and the cliffs in the background, deserted beaches, rain showers, the howling wind howling around the castle, secret passageways, fireplaces, creaking floors, shadows, footprints in the mud, hands emerging from the darkness… these are ingredients that, as in several of his films, Bava also knows how to use skilfully here . Together with the gothic decors designed with an eye for detail and the lighting that creates all too colorful scenes, it produces the necessary visually impressive images. Ingredients that continue to pass by during the entire running time of Bava’s film and with expert camera work and musical accompaniment ensure that the dark background atmosphere intended by Bava is actually effectively created.

Then the story itself. The arrogant aristocratic Kurt Menliff returns to the family castle after learning that his brother Christian has married his former lover Nevenka. Both the hatred and fear that the returned Kurt evokes in his relatives, as well as the mutual family relationships, lead to quite a few tense situations and developments in which disaster is inevitable. Kurt is murdered soon after his return. In addition to the horror-oriented approach that Bava uses, the multitude of candidates who may be responsible for the murder also gives some mysterious tinges about the identity of the perpetrator. Some mystical touches too when Kurt’s appearance turns out not to belong to the past. More than this, however, the nature of the relationship between Kurt and his former lover Nevenka is striking, when both, despite Nevenka being married to Kurt’s brother Christian, still have feelings for each other. This produces not only romantic, but also the necessary sadomasochistic scenes, when Nevenka is only too happy to accept Kurt’s beatings. However, it is also sexually violent images that at the time ensured that Bava’s film was considered unacceptable to the public and resulted in considerable censorship. Although the aforementioned scenes are heavy-handed and bloody enough, it is also striking that the other horror-oriented developments in terms of bloodshed are not shown too explicitly. What emerges most is the successful broodingly dark and slightly ghostly atmosphere that is constantly present and in which the unmistakable approaching and unfolding doom makes it feel inevitable. And in which, despite the question whether both Kurt and Nevenka will evoke too much sympathy, the necessary tragedy about a complicated and doomed love relationship emerges.

The humor comes across as somewhat morbid, when Nevenka’s fantasies are repeatedly accompanied by the necessary romantic background music. And although for the hardcore horror fan it might have been a bit more explicit and frequent, the story could also have taken place at a faster pace and there are some holes in the story and the necessary illogicalities can be recognized, Bava also has this ‘The Whip and The Body’, as applies to many of his productions, has delivered a deserving horror film in several parts in which his qualities are clearly evident again.

Deserving acting from the cast members. Most notable are horror actor Christopher Lee as Kurt Menliff and Daliah Lavi as his former lover Nevenka. Lee is in shape as the returning black sheep of the family, the arrogant, evil, looking down on his servants and whipping merrily at them. And in such a capacity that Lee has labeled it one of the best horror movies he’s ever appeared in. It’s just a shame that the murder of Lee’s character Kurt gives him a fairly limited screen time, although much is made up for by the scenes in which he appears as an apparent ghost with malicious intent. Also good work by Daliah Lavi as Kurt’s lover, the sensual Nevenka, who comes under his spell after Kurt’s return and can’t resist the not exactly gentle practices to which he subjects her. Something that Lavi knows how to portray, which also contributes to the chemistry between her and Lee’s character and also ensures that the bond between their characters is and remains believable. Good work by the other people involved as well. Although not particularly striking due to Lee’s and Lavi’s eye-catching appearances, they are designed to be meritorious. Disadvantages can perhaps be mentioned that Bava’s style and atmosphere are too much of a priority, that the story is made too subordinate to it and that Bava also wants to go too far with his story. Nevertheless, the positives in Bava’s film, while not counting as his best work ever, make it yet again one of his creditable productions. A production that fans of Italian classic horror films will appreciate in several areas.