Un angelo per Satana

An Angel for Satan is the rarest, and therefore hardest to find of all the Gothic horror films that Barbara Steele made in the sixties; but hunting it down was certainly worth the time and effort as this film is right up there with Danse Macabre and Black Sunday as one of the best films that the horror icon made! Director Camillo Mastrocinque had worked in the Gothic horror genre previously with the somewhat less than brilliant effort Terror in the Crypt in 1964; but it would appear he'd done some homework on the genre since then as this film is much better. The story focuses on a little Italian village. A statue belonging to a rich family has been recovered from the local lake after a heat wave, and Roberto Merigi has been called in to restore it; which coincides with the return of Harriet Montebruno; the daughter of the statue's owner. There is a story of a curse surrounding the statue, and the locals believe that the village itself will become cursed if it is ever recovered from the lake. Strange things then start happening in the village.

The key thing for this genre, and indeed the best thing about this film, is atmosphere. Director Camillo Mastrocinque succeeds admirably in bathing the film in a thick and foreboding atmosphere; which is helped by a great score from Francesco De Masi. The plot is spread rather thinly and the film puts its main focus on the central characters, which works well. Barbara Steele is, of course, the star of the show and aside from looking better than ever, also provides the film with its main story lines. Starring alongside Steele is the great Anthony Steffen, who provides a strong male lead. The film is basically a mystery thriller with horror elements tied in; the horror of course coming mostly from the atmosphere and direction. The plot does flow well and the film is always interesting, though my only real criticism of the film comes from the fact that more isn't made of the curse. There's a gorgeous sequence explaining how it came about, but that's the only real mention and it's a bit of a shame. Otherwise, however, An Angel for Satan is an exceptional Gothic horror film and comes highly recommended to anyone that enjoys films like this!

Perhaps inspired by Mérimée's short story "La Venus D'Ille

and even more by French miniseries "Belphegor" ,"Un Angelo per Satana" is solid horror movie stuff;anyway with Barbara Steele,the most fascinating actress of the genre ,you cannot be wrong.Even when the screenplay is weak,she saves something from the wreckage.

Anyway the screenplay is well-constructed,with two final unexpected twists;the first pictures ,on the lugubrious lake, almost show a Dreyeresque influence .Steele is so subtle an actress you never know whether she is an angel or a demon who causes crimes,drownings,suicides and other horrors;this is a Gothic atmosphere with the De Rigueur events which happened a long time ago and became a curse for the inhabitants of the island .Recommanded for horror buffs.

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.

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!).