Malatesta’s Carnival of Blood is a truly odd beast that exists in two separate realities within our own. As such, it’s a film you could feel totally differently about each time you take it in. Indeed, we had both reactions to it at the exact same time, and so in tribute to this rare achievement, we’ll provide a review for both assessments of the film.
In Malatesta’s Carnival of Blood, the Norris family (mother, father and daughter Vena) have arrived at a run down, dilapidated carnival presided over by the mysterious Mr. Malatesta and his right-hand man Blood. The family is there to get some much-needed work, or so it initially seems. They’re actually there to try and find out what happened to their son, who has disappeared, with father ready to take bloody vengeance if his suspicions of foul play are proven true. But this description is to credit the film with some semblance of plot or action or events, of which there are none. Instead it’s a tiresome, amateurish collection of would-be dream imagery in place of anything like competence. At only 75 minutes in length, it still drags due to it going nowhere good, very slowly. Acting ranges from barely there to pure ham. It’s a dreadful misfire, alternately laughable and dull and never managing to become more than a cult oddity.
In Malatesta’s Carnival of Blood, the Norris family (mother, father and daughter Vena) have arrived at a run down, dilapidated carnival presided over by the mysterious Mr. Malatesta and his right-hand man Blood. The family is there to get some much-needed work, or so it initially seems. They’re actually there to try and find out what happened to their son, who has disappeared, with father ready to take bloody vengeance if his suspicions of foul play are proven true. What follows is one of cinema’s few genuine screen representations of nightmare imagery that really gets what makes bad dreams so unsettling. By freeing itself from concerns over conventional narrative, Speeth’s ambitious film instead presents us with a missing link between Romero’s Night of the Living Dead and Fulci’s Gates of Hell trilogy. Dense with remarkable imagery, it’s a powerful and unique film.
Arrow’s solid, recommended release provides a really quite good print for what was a low budget film apparently ‘lost’ for nearly 30 years. Colours are vibrant, and the film’s all-important imagery is well-served. In addition to this, the extras are worthwhile. Following author Stephen Thrower’s introduction, we get 30 minutes of interviews with a frank Speeth, writer Liepold and the film’s art-directors all providing welcome context, with an affectionate, informative commentary from historian Richard Harland Smith.
Special Features: Audio commentary / Introduction to the film / Interviews / Outtakes / Stills gallery / Draft script
MALATESTA’S CARNIVAL OF BLOOD / CERT: 18 / DIRECTOR: CHRISTOPHER SPEETH / SCREENPLAY: WERNER PIEPOLT / STARRING JANINE CARAZO, JEROME DEMPSEY, DANIEL DIETRICH, LENNY BAKER, HERVE VILLECHAIZE / RELEASE DATE: DECEMBER 4TH
