Plot so thin, it passes unnoticed.

The film makes a home in your brain and the only cure is to see it again.

While it doesn't offer any answers, it both thrills and makes you think.

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

This film is a bit of an oddity, a movie that has more in common with art-house cinema than the more conventional stalk-n-slash murder movies that were popular at the time. The story of a woman descending into madness is a familiar one that was utilised through the '70s, so don't expect anything new from the plot. The style of direction, the fashions and the camera-work is also very typical of the period which gives this film a solid grounding as well as making it extremely dated – but hey, isn't that part of the fun of watching? Ultimately, BABA YAGA, DEVIL WITCH is a disappointment because nothing seems to happen. Once the story has evolved, the movie alternates between scare scenes and dialogue, neither of which are done very well. It's a shame, because many of the horror ingredients here have the opportunity to be extremely frightening, had better use been made of them. The idea of a hole in the ground leading to hell I loved, and the weird fetish doll is an extraordinarily creepy idea. As another plus, Carroll Baker is effective in the role of Baba Yaga, the witch, even though she isn't given much to work with...she certainly gave me the chills! Sadly too much of the film is filled with filler material, and it seems that the director struggled to adapt this movie from its comic book roots. There seems to be a focus on female nudity rather than plot, and minor characters like the black man come and go with little impact on the actual storyline. There's no faulting the acting, as Isabelle De Funes' heroine is pleasingly complex, far more than a simple screaming victim, and big George Eastman gives one of his better performances early on in his career. It's just that BABA YAGA, DEVIL WITCH is so familiar. There's absolutely nothing in the way of originality here, and while a good few individual moments are decently done, as a whole the film is run-of-the-mill entertainment.

Known also as Baba Yaga, this film is in the tradition of Jesus Franco and Mario Bava.Carrol Baker (Baby Doll, The Carpetbaggers) is Baba Yaga, a witch who is definitely a lesbian. She crosses paths with Vanentina (Isabelle De Funès), a fashion photographer.Baba Yaga was also into S&M, and used her lesbian assistant (Ely Galleani - Lizard in a Woman's Skin) to whip Valentina after she captured her.But, George Eastman (The Grim Reaper, Kidnapped) comes to the rescue. He won't let someone like Valentina fall into the clutches of lesbian witches. he was her body for himself.Neat ending.

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

I saw it last night for the first time and thought it was spectacular! Filled with style and inventive camera work that could leave Argento in shame, the movie had a bizarre, interesting story. The pace was slow and lethargic (similar to Franco's Succubus and Vampyros Lesbos); the music was excellent, including a melancholic jazz tune and a stylish rock score; and the acting was above average: Carroll Baker, as opposite of what many reviewers said, shines in the role of the evil witch (and looks very attractive also), and Isabelle de Funes was a nice revelation. Cult favorite George Eastman is also good in is supporting role. For the sleazy guys, there was also some mild S&M and some T&A, but nothing worth mention . Too bad the director only made this film, as he looked very talented. A 8/10 from me.