Un angelo per Satana

This was "Scream Queen" Barbara Steele's last of nine Italian horror films (for the record, I've still got TERROR CREATURES FROM THE GRAVE [1965] and THE SHE-BEAST [1966] to catch up with) and the one that was hardest to come by until recently. With this in mind, the print on display still left a lot to be desired – panned & scanned, fuzzy picture quality and the audio filled with extraneous noise (particularly during the second half…where it seems that someone's tapping on computer keys somehow got mixed in with the film's soundtrack, recalling a similar incident found on the original DVD of SON OF Dracula [1943]!).

AN ANGEL FOR Satan – the title, by the way, is a misnomer – was also probably the last of the vintage Gothic Horror outings from this country to be shot in black-and-white (imbued with a touch of poetry not easily replicated by the more delirious color titles). Incidentally, I'd watched director Mastrocinque's sole other foray (also in monochrome) in the genre – the "Carmilla" adaptation CRYPT OF THE VAMPIRE (1963), starring another horror icon in Christopher Lee – which I remember liking quite a bit, but whose recording (made off late-night Italian TV) I subsequently foolishly erased. To get back to Steele's European output, a common thread running through most of them is that she plays a look-alike descendant of some diabolic ancestor (beginning with the very first, Mario Bava's seminal BLACK Sunday [1960]) – and this one's no exception though, in its case, she emerges to be more of a victim (which, I guess, is what the title is ultimately alluding to). Having mentioned Bava, while his one picture with Steele was the director's official debut, his swansong – the fascinating (made-for-TV) THE VENUS OF ILLE (1978) – actually shares much of its plot line with AN ANGEL FOR Satan! Indeed, here we also have the discovery of an ancient statue bringing a series of calamities upon a small community consumed by superstition – and where the blame is placed at the doorstep of newly-arrived Lady of the Manor Steele (since the figure was made in the image of her forebear).

An interesting (if unlikely) twist is that the woman of the past played by Marina Berti – who, jealous of Steele's popularity with the menfolk, had tried to destroy the statue but tumbled down along with it into the river beneath – also has a like-minded i.e. vindictive descendant (her ultimate fate, then, emerges to be predictably ironic). That said, the narrative makes it seem at first as if the old Berti has taken possession of the new Steele…until hero Anthony Steffen (the sculptor entrusted with restoring the icon) uncovers the whole scheme which also sees Steele's current guardian (Claudio Gora), enamored of Berti, involved (hypnotizing his charge into committing nefarious deeds so as to elicit the ire of the townspeople who, in getting rid of the girl, would make him legal proprietor of the estate!). Steele, in fact, is made to turn heads yet again – particularly those of the more gullible members of the community: village idiot, shy schoolteacher, his equally naïve girlfriend(!) and who also happens to be Steele's own personal maid, and the town strong-man. She seduces all (often by casually taking off her clothes in their presence – though we see next to nothing, screen permissiveness having only just been broken with the likes of THE PAWNBROKER [1965] and BLOW-UP [1966]) and 'causes' them to act in extreme ways – the first becomes a serial rapist/killer (on whom the villagers eventually turn en masse), the second commits suicide (in the classroom of all places!) as a result of the maid breaking off her relationship with him and the fourth sets fire to his own home (with the rest of the family still inside!).

By now, of course, Steele was well-versed in this type of role – so, it's no surprise that she turns in a typically multi-layered performance (with her striking looks intact). However, she's matched by the brooding Steffen (later a regular of Spaghetti Westerns and Gialli) – and, equally impressive is Francesco De Masi's evocative score (it's pure happenstance that several titles I've been watching in my ongoing "Euro-Cult" marathon bear his signature!).

I must admit, I collect horrors from the beginning of filming, my oldest is from 1911 until now but the fifties and the sixties never were my thing. That period was filled with too much blah blah horrors were nothing happens or were filled with guys in a monster suite. Thanks to Chris in the UK I was given the opportunity to watch this flick. It is a rare film to find, strange because Barbara Steele plays in it. Wellknown for her part in Black Sunday made in 1960. The fact that it is an Italian film made it even harder to find it with subtitles, my copy has it. In fact, for me it's a ghost story. Beautifully filmed and exceptionally for an Italian flick with perfect sound, no overdubs or hiss. All actors are believable. Don't expect a gory or bloody movie. In those days most of the horrors weren't bloody. Except for the start in the states of the slashers with Blood Feast (1963). Steele plays a perfect role written for her and the plot is also really nice, it's only in the last minutes that you will know what's really going on. It's more suspense then horror, only a few seconds there is blood. There are also no effects used in this film and that's why it has his cult following, Steele is also a reason. In some way it get's you by the throat. If you can catch a copy watch it but first transfer yourself in those days. Oh yeah, it's shot in black and white which gives it an older look (40's). Start searching my friends.

Fabulous b/w Italian Gothic that is beautifully shot and has a marvellously evocative soundtrack. Perhaps slightly too leisurely paced at the start with too many interiors but this is nit picking and very mean for a film that at times reminded me of Bava's The Whip And The Body. Yes, that sort of intensity and sexual tension. Oh and I haven't even mentioned what would have made the film so watchable even without all that. Barbara Steele! This has to be one of her most notable roles (dual roles, again, actually) and she shines both as the innocent and the depraved equally. Her pretty personal maid and the handsome co-star both work hard but become almost invisible when this woman is on screen. It's a well told tale set on an Italian lake with much ado about a statue salvaged from the waters and an associated curse. Great stuff. Magnificent ending.

Very glad to see this after so many years just reading about it. Was still operating under the impression that it was only available without subtitles, but seeing that Netflix was offering it, I added it to my queue and was very happy to find that it arrived with English subtitles.

It's beautiful, evocative, violent, and puzzling with Steele cutting quite the figure of death and destruction as Harriet fresh out of England to claim her inheritance somewhere on the Continent. For a film that I thought was going to be wearisome and talky considering its first 15 minutes or so of weary talk, it definitely found its stride and delivered on its promise once Steele's machinations--or Belinda's or...?--unfolded.

A great end of the week, Friday night flick and now one of my top three favorite Steele films.

"Un Angelo per Satana" aka. "An Angel For Satan of 1966 is the last of nine Italian Gothic Horror films starring the wonderful Barbara Steele, doubtlessly the greatest female Horror icon in cinema. Barbara Steele, who is capable of combining stunning beauty and unspeakable eeriness like none other (which makes her my favorite actress), starred in none less than three of the all-time greatest Horror masterpieces within a few years, namely Mario Bava's "La Maschera Del Demonio" (aka. "Black Sunday") in 1960, Roger Corman's "Pit And The Pendulum" (aside the great Vincent Price) in 1961 and Antonio Margheriti's "Danza Macabra" (aka. "Castle of Blood") in 1964. While "Un Angelo Per Satana" is not a masterpiece en par with the aforementioned films, or even other brilliant Gothic tales like "Nightmare Castle" ("Gli Amanti De Oltretomba", 1965), this is yet another eerie and great gem starring Steele. As in "La Maschera del Demonio" and "Nightmare Castle", Steele once again has a double-role in this one, and she is once again brilliant switching between pure innocence and pure evil.

The film is set in a 19th century Italian village set next to a lake, from which an old sculpture has been recovered. Invited by the local Count Montebruno (Claudio Gora), sculptor Roberto Merigi (Anthony Steffen) has come in order to restore the artwork, and immediately finds out that the villagers are afraid of a curse which is supposed to be placed upon the sculpture. The Count's beautiful niece Harriet (Barbara Steele) bears an amazing resemblance to the sculpture... "Un Angelo Per Satana" did not have a very high budget, and actually looks a few years older than being made in 1966. This is in no way a fault, however, as the film, which is filmed in beautifully uncanny settings, nonetheless maintains a tense and creepy atmosphere. This is one of only two Horror films director Camilllo Mastrocinque ever made, the other being "La Cripta e L'Incubo" (aka. "Crypt of the Vampire", 1964) starring Horror icon Christopher Lee. Even so, Mastrocinque was obviously perfectly capable of creating genuine creepiness and a Gothic atmosphere. As stated above, Barbara Steele is once again brilliant in her double role here. I am always getting quite monotonous when this favorite actress of mine is the topic, but she simply cannot be praised enough, in my opinion. Anthony Steffen, who is best known for starring in many Spaghetti Westerns as well as Emilio Miraglia's "The Night When Evelyn Came out of her Grave" ("La Notte Che Evelyn Uscì Dalla Tomba", 1971) fits well in the role of the hero, and the cast furthermore includes Mario Brega. Brega, who was part of some of the greatest Italian Westerns, including Leone's Dollar-Trilogy and Sergio Corbucci's "Il Grande Silenzio" (1968), once again plays a grumpy ruffian here. The settings are beautiful and eerie, especially the lake, and the photography is very nicely done. The most convincing reason to see "Un Angelo Per Satana" is, of course, Barbara Steele (more than reason enough for me!), but the film is also great in other aspects. A definite must-see for my fellow fans of Italian Gothic Horror and Barbara Steele, "Un Angelo Per Satana" is a creepy and great gem that comes with my highest recommendations.