7/10
Bobby! BOBBY!
18 September 2017
Warning: Spoilers
Just as the giallo was gaining popularity, Mario Bava proves he's way ahead of the pack by turning the genre on its head, then kicking it up and down the street a few times for good measure. This is evident from the first murder of the film. At a moody, almost deserted bay, an old lady in a wheelchair stares out over the water longingly at a small wooden shack. Sighing, she turns to go to bed for the night when a noose is thrown over her head and she's hung from a doorway. A black gloved killer stands above her body, but just to let you know this is a Bava film, the camera pans up to immediately reveal his face, and just to further let you know this is a Bava film, someone kills the killer by stabbing him to death!

Most gialli have one killer, some have two, Bay of Blood has at least five or six, all of them with the same intention: to gain ownership of the bay, which would provide them with great wealth. There's the businessman and his girlfriend who have some shady deals going on, then there's the second victim's daughter and her husband (and their kids, who they brought along for some reason), then there's Simon, who is the old lady's son, and likes chewing on raw squid. Innocent bystanders are a local Entomologist and his tarot reading wife, and a bunch of annoying hippies who have turned up to have fun.

Bava barely even bothers with any kind of plot for the first hour of this one, and is more interested in turning part of the film into a slasher movie, seven years before Halloween was released. The hippies are first and I'm sure it was a shock back then to see someone receive a giant blade directly to their face, followed shortly by a couple being speared through the back right in the middle of a bit of filthy squeezy. As mentioned everywhere else on the internet, there are a lot of similarities between this film and the first two Friday the 13th films, as well as a lot of similarities between this review and every other review of this film.

Eventually the cast is whittled down enough to allow time for some flashbacks that films in the gaps regarding who is doing what to whom and why, and Bava also throws in a 'what the feck?' ending. This is barely a giallo and more of a comedy of the darkest kind about greed.
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