If, judging by the title, you're expecting a film about a cannibalistic old lady who lives in a hut with chicken legs in a Russian forest, than you'll certainly by surprised, for the only similarities between this film and the old folktale is having an old witch who preys on the young. Corrado Farina's "Baba Yaga" is a delirious art-house gem adapted from Guido Crepax's "Valentina" comics, which centers around the sex life of a popular fashion photographer. Though Corrado Farina made only about four films in his career, none of which were very well praised, he really shows his potential as filmmaker in this one, whose unique vision of horror cinema stands out from almost every single genre film made in Italy at that time (most of which consisted of cheap Bava imitations). As a matter of fact, it's much more like something Godard would do had he done a horror film, and not surprisingly, Farina himself admitted that the French maestro was indeed an inspiration for this one. Though reportedly it wasn't an easy shoot, Farina really believed in the project, and one can really see how this film is indeed a labor of love. There's something of an 'extra care' and finesse that lacks in so many films of it's kind that were released around the same time (even the dialog which is usually laughable, is well written). Also, he makes full advantage of comic book motifs in translating the story to screen, with some scenes framed just like a comic book as well as some other interesting editing techniques. Another bonus for the film is a great cast that, though weren't exactly what the direction originally intended, do very well in their jobs. Isabelle De Funés is pretty and very sympathetic as our protagonist Valentina, George Eastman is a likable hero, and last but not least, Caroll Baker is eerily seductive as the titular sorceress, conveying both the creepy and sensual qualities her role requires (even if her performance does borrow something of Delphine Seyrig as Countess Bathory in the equally hypnotic "Daughters of Darkness"). Other highlights include Piero Umiliani's beautiful score which often shifts from haunting piano melodies to funky disco motifs, as well as the very disturbing and spine-chilling nightmare sequences, which resembles a cross between Fellini at his darkest and Roman Polanski. Still, the film is not without it's flaws. For one, I just can't take that dominatrix doll too seriously, and also, the ending felt too rushed and anti-climatic, which is a shame really, considering there was so much suspense build up for what turned out to be not much really. I suspect the ending problem might have something to do with the producers' total butchering of the film before it was released (though Shameless' cut is probably the closest thing we'll ever get to Farina's original vision, there's still lots of stuff that has been cut out or changed). Nevertheless, the film manages to hold up quite well even with it's flaws. It is overall a highly atmospheric, original, often creepy and throughly mysterious piece of artsy fun. 9/10
Review of Baba Yaga
