Sadistic scoundrel Kurt (Christopher lee), black sheep of the family, returns home to find that absence hasn't exactly made the heart grow fonder: his father (Gustavo De Nardo), brother Christian (Tony Kendall), ex-lover Nevenka (Daliah Lavi) and housemaid Giorgia (Harriet Medin) still find him utterly loathsome. Unsurprisingly, Kurt winds up being murdered, but even death cannot stop his cruelty...
In keeping with its Sadean theme, The Whip and the Body is both a pleasure to behold and a pain to endure: aesthetically, the film cannot be rivalled, with excellent costume and set design, and exquisite direction from Mario Bava, whose camera glides gracefully through pools of coloured light and ominous swathes of shadow to great effect; the story, however, is less impressive, a trite exercise in Gothic cliché, replete with a creepy cliff-top castle continually battered by strong winds and thunderstorms, a raft of morbid characters, all of whom harbour dark secrets, loads of tiresome symbolism, and some ridiculous psychological claptrap.
The sado-masochistic nature of the central relationship between Kurt and Navenka (which is surprisingly way ahead of its time) prevents the film from attaining coma-inducing levels, but with extremely long periods where nothing much of interest happens, the film is far from the perfect perverted and poetic love story that its ardent supporters claim it to be.
8 out of 10 for the lovely imagery, but 4/10 for the story—so that's an average rating of 6/10.
In keeping with its Sadean theme, The Whip and the Body is both a pleasure to behold and a pain to endure: aesthetically, the film cannot be rivalled, with excellent costume and set design, and exquisite direction from Mario Bava, whose camera glides gracefully through pools of coloured light and ominous swathes of shadow to great effect; the story, however, is less impressive, a trite exercise in Gothic cliché, replete with a creepy cliff-top castle continually battered by strong winds and thunderstorms, a raft of morbid characters, all of whom harbour dark secrets, loads of tiresome symbolism, and some ridiculous psychological claptrap.
The sado-masochistic nature of the central relationship between Kurt and Navenka (which is surprisingly way ahead of its time) prevents the film from attaining coma-inducing levels, but with extremely long periods where nothing much of interest happens, the film is far from the perfect perverted and poetic love story that its ardent supporters claim it to be.
8 out of 10 for the lovely imagery, but 4/10 for the story—so that's an average rating of 6/10.