SPACEWAYS

Eva Bartok and Howard Duff

SPACEWAYS (1953). Director: Terence Fisher.

Dr. Stephen Mitchell (Howard Duff) is an American scientist working on a top-secret British rocket base. One day his wife Vanessa (Cecile Chevreau) disappears with her lover, Dr. Philip Crenshaw (Andrew Osborn). A repellent investigator named Dr. Smith (Alan Wheatley) suggests that Mitchell killed wife and lover, drained some fuel from a rocket, and put their dead bodies inside it to create the perfect murder -- it has been determined that the rocket may not fall back to earth for many decades. Now Mitchell decides the only thing he can do is risk life and limb by taking a manned rocket into space and bringing back the other rocket to prove there are no corpses on board ... Spaceways has an interesting and unusual plot, and it's well-acted and suspenseful enough to be reasonably entertaining. Director Fisher, responsible for several zesty Hammer horror flicks, does a briskly-paced job, and the beginning of the picture really pulls you in, even if the rest is somewhat disappointing. Duff [Dante] is more than okay as the leading man; Bartok, who is better as the leading lady, also gives a good performance. Michael Medwin plays another scientist named Toby, and Philip Leaver is the fatherly Professor Koepler. Bartok makes a very different impression in this movie than she does in Mario Bava's Blood and Black Lace.

Verdict: Good story line with so-so execution. **1/2.

BLOOD AND BLACK LACE

BLOOD AND BLACK LACE (1964). Director: Mario Bava. [NOTE: End credit says that the English version was produced, written and directed by Lou Moss. The Italian title is Sei donne per l'assassino.]

An especially brutal murderer is slaying the beautiful models of the Christiane Fashion House in Rome. The establishment is owned by Contessa Como (Eva Bartok), a widow who is keeping company with one Max Morlan (Cameron Mitchell). Inspector Silvester (Thomas Reiner) locks up all the male suspects but the murders continue. This entertaining, well-made and suspenseful film was highly influential on the many Italian horror thrillers by Dario Argento and others that came afterward (while it itself was influenced by Hitchcock's Psycho, especially in regard to a intense focus on and depiction of murder.) There are illogical moments -- why does one frightened woman drag a corpse into her house and even leave the door wide open? -- and a disregard for forensics, but the movie works on a visceral level and is generally well-acted. Bartok and Mary Arden as model/victim Peggy come off best. Thomas Reiner is the Great Stone Face as the cop assigned to the case. Not badly dubbed (Paul Frees did some of the dubbing, apparently for more than one character.) Credit may have been given to someone else for supposedly directing this "English" version, but any way you slice it the film is pure Bava. Carlo Rustichelli's score is a plus, both the eerie incidental music and the lazy, sensual jazz theme that opens the movie and plays on occasion throughout. Some of the atmospherically-lit sequences were considered quite sadistic in their day and still pack a punch. Bava also directed Twitch of the Death Nerve [AKA Bay of Blood].

Verdict: A creepy treat for those who love multiple murders in movies. ***.