Released in 1966 by Mario Bava, Kill, Baby, Kill, is a fantastic horror set in a Carpathian village. Despite its ridiculous American title (the original being, Operazione paura) which conjures images of a c-grade slasher, the film is a surprising mix of an old-fashioned ghost story with dashes of surrealism.
The film begins as a woman leaps to her death onto a spiked fence. Then a child’s mocking laughter is heard as the opening credits roll.
An outsider, Dr. Paul Eswai, is summoned to perform the autopsy. He quickly befriends a young nurse, Monica Shuftan, who only recently arrived at the village, herself. She reveals having been born there, but sent away when orphaned at two years. “I came to visit my parents’ graves,” she tells him.
The two quickly learn that the villagers fear a ghost child named Melissa. Legend goes that anyone who sees the malevolent spirit will kill themselves
The scientifically-minded doctor scoffs at the notion of a curse, while the more emotional, but sensible Monica realizes that science can’t explain the odd deaths which have plagued the village for twenty years.
Along with the pile of bodies all found with coins in their hearts, is the mysterious presence of the black-robed Ruth.
When a teen-aged girl claims to have seen the ghost, her petrified mother cries for her husband to seek help from the witch. But when he opens the door to do so, she is already standing at the threshold. “We know when someone is in harm’s way.”
When Paul arrives, he is aghast to witness what he considers Ruth’s arcane healing methods. And further, he ignores her warnings to leave the village. Instead, he continues to search for rational answers and save the ailing Nadienne.
Meanwhile, Monica is plagued by a doll-filled nightmare that suggests there’s more to her past in connection with the village than even she is aware..
As the plot deepens, Monica, Paul, and Ruth find their way to the home of the Baroness Graps, the reclusive mother of the ghost child. Two are seeking the truth. One, is looking for retribution.
Not as well known as Bava’s sublime, Black Sunday, this film is every bit as worth a view. Interesting camera angles and dazzling colors create a highly atmospheric mood. An intelligent script converts some of the genre’s even by then tired clichés. Giacomo Rossi-Stuart displays solid acting as Paul, though he lacks the charisma necessary to elevate the role from merely the “good guy”.
It is the women of this film that the camera loves. Erika Blanc is effective as Monica, and even drab clothes can’t hide her charms. The haunting Fabienne Dali (Ruth) steals every scene she’s in. And of course, there’s always Melissa and her devoted mother…