Mario Bava was an influential Italian horror filmmaker active between the 1940s and late ’70s. He was a polymath, working as a special effects artist, writer, and cinematographer in addition to directing. Referred to as «Master of the Macabre», Bava earned a cult following with his pulpy, low-budget, but endlessly creative movies. At their best, his films combine thrilling plots, unsettling imagery, and surprisingly thoughtful themes, often about the dark side of human nature. They earned him a spot in the pantheon of horror auteurs and icon status in his home country.

Although most of his movies were not especially commercially successful on release, they inspired countless filmmakers who followed, from Martin Scorsese and Dario Argento to Edgar Wright, Tim Burton, and Quentin Tarantino. In particular, Bava played a pivotal role in the development of the slasher subgenre, with his films Blood and Black Lace and A Bay of Blood frequently ranked among the greatest slashers ever made. A lot of his projects have aged surprisingly well and remain engaging today. Fans of horror history are likely to find his filmography fascinating. These are Bava’s best movies, ranked.

10 ‘The Girl Who Knew Too Much’

Released: 1963

«Oh Mother, murders don’t just happen like that here.» The Girl Who Knew Too Much (aka The Evil Eye in alternate cuts) is a lean giallo movie centering on Nora Davis (Letícia Román), a young woman who becomes the target of a serial killer who tells her that she will be his next victim. After witnessing a murder, Nora enlists the help of a journalist (John Saxon), to uncover the truth behind the sinister events plaguing her life.

As they delve deeper into the shadowy underworld of Rome, they soon realize that nothing is as it seems, and danger lurks around every corner. The plot here is admittedly slight and often rather ridiculous, only hinting at the superior giallos Bava would go on to make. At times, it feels like a string of horror clichés rather than a real story. Nevertheless, the movie is still visually stylish, shot in striking black-and-white. It also crams more than enough mystery and blood into its 86-minute runtime to warrant a viewing, at least for fans of this subgenre.

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9 ‘Rabid Dogs’

Released: 1974/1998

Rabid Dogs is a relentless, claustrophobic thriller that unfolds almost entirely in real-time. It opens with a violent robbery gone awry, leaving a group of criminals on the run from the law. Desperate to evade capture, they hijack a car and take its occupants hostage, embarking on a nerve-wracking journey where tensions rise and alliances shift.

This is suspense filmmaking done right, with Bava deploying a minimalist set of storytelling tools for maximum effect. It’s impressive that the movie came out so well, given that it had such a fraught production process. Initially filmed in 1974, Rabid Dogs was only completed and released in 1998. It remains somewhat underrated, with a delectably unpredictable plot and an intriguingly realistic style as opposed to the more exaggerated aesthetic Bava is famous for. Thematically, this is the director at his most cynical, giving us a cinematic world where no one can be trusted and where every character is only looking out for themselves.

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8 ‘Planet of the Vampires’

Released: 1965

«If there are any intelligent creatures on this planet… they’re our enemies.» This grim sci-fi follows the crew of the spacecraft Argos as they respond to a distress signal from an unexplored planet. Upon landing, they discover the remains of an ancient alien civilization and encounter a mysterious force that possesses the bodies of the crew, turning them into bloodthirsty creatures. They must uncover the planet’s dark secrets before paranoia and the animated dead spell their doom.

Although rough around the edges, Planet of the Vampires is generally held in high regard for its evocative depiction of an alien world. It’s the quintessential example of Bava creating an immersive viewing experience despite the limitations of his meager budget. It proved highly influential, lending ideas to everything from Alien and Prometheus to Pitch Black and Mission to Mars. James Wanhas also cited it as the primary blueprint for Aquaman 2.

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7 ‘Danger: Diabolik’

Released: 1968

«Diabolik… I assure you that this individual, whose very name reveals his antagonism to the established values of our society, will soon be brought… to justice!» Diabolik (John Phillip Law) is a master thief who pulls off audacious heists with the help of his girlfriend Eva Kant (Marisa Mell). Seeking to thwart him, Inspector Ginko (Michel Piccoli) pressures a gangster (Adolfo Celi) into hunting Diabolik down. The swaggering anti-hero has to outwit both law enforcement and the mob in order to make it out alive.

Bava adapted Danger: Diabolik from an Italian comic series, but the film was a box-office disappointment. Nevertheless, its critical standing has improved significantly in the decades since, with many now praising Ennio Morricone’s score and the way Bava tries to replicate the look of a comic book in live action. For this reason, Edgar Wright looked to the movie for inspiration when making Scott Pilgrim vs. The World, taking ideas from Bava’s «sense of completely unbridled imagination».

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6 ‘The Whip and the Body’

Released: 1963

«You haven’t changed, I see. You’ve always loved violence.» Set in a secluded castle on the rugged coast of Italy, this gothic horror revolves around the tormented Kurt Menliff (Christopher Lee). He was once engaged to Nevenka (Daliah Lavi), but his affair with the servant girl Tania and her subsequent suicide enraged Kurt’s father, and he was banished. Returning to his ancestral home, Kurt reignites a forbidden passion with Nevenka, now married to his brother (Tony Kendall). However, their illicit affair unleashes a series of dark and violent events, as Kurt’s sadistic desires and vengeful spirit refuse to be quelled, even in death.

Soon, secrets unravel, and the line between reality and nightmare blurs. Although not for everyone, The Whip and the Body is sure to delight fans of horrors featuring shadowed corridors, open crypts, and souls who refuse to depart the mortal world. The Italian government, however, was none too pleased with the movie’s sadomasochistic elements and went so far as to censor it.

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5 ‘A Bay of Blood’

Released: 1971

«The clouds are swirling. There will be tears shed over the bay.» Set in a picturesque Italian bay on the Italian coast, this seminal film opens with the brutal murder of Countess Federica Donati (Isa Miranda), igniting a chain of blood-soaked events as characters vie for control of her vast estate. As the corpses pile up, greed, lust, and betrayal intertwine.

From unfaithful spouses to ruthless land developers, each character is driven by their own selfish desires, leading to a crescendo of violence and chaos. With its intricate plot, shocking twists, and visceral imagery, A Bay of Blood remains a cult classic that provokes audiences to this day. This is by far Bava’s bloodiest movie: it cast a long shadow over the slasher genre, spawning countless imitators who can match it in body count but not in style. For example, one shot of a couple impaled by a single spear has been copied ad nauseam, most notably by Friday the 13th Part 2.

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4 ‘Kill, Baby, Kill!’

Released: 1966

«She’s after our daughter and now there’s no help for her!» Dr. Paul Eswai (Giacomo Rossi-Stuart) is sent to investigate a series of mysterious deaths in a remote Transylvanian village that is supposedly cursed. The locals say the killings were caused by the ghost of a young girl. Eswai is initially skeptical, but the eerie events that follow him soon cast all his beliefs into doubt.

Kill, Baby, Kill was another one of Bava’s movies that was not appreciated on release but came to be regarded as a major accomplishment. Its devotees praise its atmosphere, production design, and immersive locales. Rich characterization and sophisticated commentary on loss and grief are at a premium here. Perhaps most of all, the image of the girl in her white dress bouncing a white ball is also one of the most iconic in all of Italian horror. Not for nothing, Martin Scorsese declaredKill, Baby, Kill to be Bava’s masterpiece.

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3 ‘Black Sabbath’

Released: 1963

«You have no reason to be afraid.» Black Sabbath is an anthology movie weaving together three tales of terror. (In fact, its structure inspired that of Pulp Fiction.) The three stories are «The Drop of Water», about a nurse who steals a ring from the corpse of a medium and is haunted by its vengeful spirit; The Telephone,» a suspenseful thriller in which a woman receives threatening phone calls from a mysterious stalker; and «The Wurdalak», about a Russian family terrorized by a vampire-like creature.

The acting is a little hammy at times, but Bava’s mastery of tension is firmly on display. The film’s admirers also include Luca Guadagnino, who said of it: «[Bava’s] capacity for inventiveness and his really wonderful sense of cinema are still a great lesson for anyone who wants to approach cinema for the values of the language of cinema itself.» Ozzy Osbourne and co. also took their band name from the film’s title.

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2 ‘Black Sunday’

Released: 1960

«You will never escape my vengeance, or Satan’s!» Black Sunday tells the chilling tale of Princess Asa Vajda (Barbara Steele), a witch condemned to death by her own brother for practicing sorcery. Before her execution, Asa vows vengeance upon her family’s descendants. Two centuries later, her malevolent spirit is accidentally awakened by a doctor and his assistant, who thus unwittingly unleash a reign of terror upon the nearby village. Asa’s thirst for revenge knows no bounds, and she stops at nothing to claim the souls of the living.

Black Sunday was Bava’s response to the Hammer Horror movies of the late 1950s, particularly the first Dracula with Christopher Lee. He competes with that film in terms of grandeur and memorable visuals, resulting in a horror that is far more beautiful than most of its peers. In the process, Bava set a new high watermark for Italian horror and established conventions that would be incorporated by both the giallo and Spaghetti Western subgenres.

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1 ‘Blood and Black Lace’

Released: 1964

«Perhaps the sight of beauty makes him lose control of himself, so he kills.» Among the earliest giallos, Blood and Black Lace takes place at a fashion house in Rome, beset by controversy, where a masked killer begins murdering the models. As the hysteria mounts, the salon’s owner and employees become suspects in a deadly game of cat and mouse. Amidst the glamorous backdrop of haute couture and hidden desires, secrets are unearthed, and alliances are shattered.

The film played a significant role in establishing various elements typical of the giallo genre, such as the killer always wearing gloves. Additionally, it stands out with its distinctive visual approach characterized by vibrant primary colors. Indeed, Bava skillfully merges artistic sophistication with a passion for B-movie-style graphic violence. This blend proved influential, inspiring numerous filmmakers and earning explicit nods from notable figures like Martin Scorsese, Pedro Almodóvar, and Dario Argento. It represents the pinnacle of Bava’s potent, bloody storytelling.

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