L'Appel de la chair

Emilio Miraglia's crossover between Gothic horror and Italy's finest cinematic export, the Giallo, really is a delightful film for the fan of cult horror. While the movie is certainly no masterpiece, the story moves well and the imagery on display and imagination on the part of the director that is shown throughout elevates a rather simple tale of insanity and murder into an amazing slice of cult cinema. The title alone is graphic and lurid enough on its own, and I'm pleased to say that the film itself carries on this style throughout, with some well worked and ingenious death scenes, as well as plenty of nudity and some truly beautiful cinematography. The story takes place in a castle just outside London, England. We are introduced to Lord Alan Cunningham and a hooker that he is taking home. After brutally torturing and eventually killing her, we discover that his mental trauma is due to the loss of his wife, Evelyn. His friend and doctor talks him into remarrying to ease his mental anguish, and that's a piece of advice that he takes upon meeting the ravishing Gladys...

Despite the fact that this film is very much a piece of schlock cinema, the director appears to have taken it very seriously, and the result is a film that puts a lot of emphasis on the plot and characters, and ultimately this means a stronger show as Miraglia takes time to draw his audience in, rather than just showing blood and nudity and leaving it at that. The acting performances aren't bad, and even though Spaghetti Western star Antonio De Teffè is a little hammy, he convinces in his role; while Marina Malfatti provides eye-catching eye candy. The murder sequences on display are typically gruesome and beyond the immediately obvious, as we watch a woman being ripped apart by foxes and a scene that sees a man burn in a pool containing sulphuric acid. Bruno Nicolai's rock score works very well and brilliantly accents every scene. The film all boils down to a satisfying ending, which despite seemingly coming out nowhere; works well and adequately describes many of the loose ends up until the conclusion. Overall, while this film isn't the best of its kind; it's certainly a very good one and I'm sure that fans of cult cinema won't be disappointed!

This creepy Italian thriller tells the story about a widowed lord who still suffers from the memory of the death of his red-haired wife Evelyn who betrayed him. So the aristocrat lures red-haired prostitutes into his castle to take revenge on his dead wife again and again: He whips them before he kills them.

But he's obviously not the only whacko in this film, because after he has found a new wife - a blonde woman this time - he seems to be getting better, but strange things happen and there's even a gloved killer who murders a couple of people in quite nasty ways.

This film from the director of the fine Giallo "La Dama Rossa Uccide Sette Volte" (1972, see also my comment on that one) is a clever blending of gothic horror elements (a creepy castle, mysterious events taking place and an empty coffin that suggests that Evelyn indeed came out of her grave) and a typical Giallo story (gloved killer, nasty murders and some surprising twists during the climax). The only letdown is the slow paced start (after a great opening sequence, though), but the second half makes up for that in many ways. The film is not that gory, but there is one particularly gruesome scene when the killer batters a woman with a stone and then throws her into a fox cage - you actually see the foxes munch on her innards.

All in all an interesting and unusual film that is worth looking for (although it's not easy to get it on tape at the moment).

Italian horror/suspense film about a wealthy English lord who cruises pubs and taverns for girls with red hair just like his recently deceased wife Evelyn. You know he must have really loved his wife, because he brings them to his home - a huge, rotting castle - and makes them disrobe and then tortures them, whips them, and kills them. The most bizarre aspect of this film for me was that somehow by the film's end, we see this guy played by Antonio De Teffe as the HERO of the film. Anyway, soon, under the advice of his playboy uncle Roberto Maldera, De Teffe settles down with a girl he meets at his uncle's party. She moves in and strange things begin to happen to De Teffe's fragile state of mind. He begins to see and hear his dead wife and finally, well, just look at the title if you are still curious. Also, family members and friends begin to die in the most brutal fashions. Poor Aunt Agatha(she looks like she might even be younger than De Teffe and they have her in a wheelchair and trying to look old) meets her fate in a foxy fashion. Another man is injected and then buried alive. And of course, there is a whole explanation as to why/how Evelyn did what she did. Director Emilio Miraglia does do some things fairly well: the settings in the film are well-suited for this film though trying to make us believe it is England is ludicrous at best. None of the actors look English. Many having dark black hair and Mediterranean complexions and wearing clothes an Englishman wouldn't be caught dead in. The cars drive on their wrong side of the road. But all that notwithstanding, the crypt scene was effectively shot and I liked the cheesy resolution too. And of course any film with the sultry, red-headed Erika Blanc is always a plus. There is a streak of sexual perversion; however, which I found somewhat appalling with the idea that torturing women was quite alright and healthy in order to relieve one of his mental demons. C'mon.

"La notte che Evelyn uscì dalla tomba" is a splendidly wicked tale, ably directed by Emilio Miraglia. Possibly the most politically incorrect giallo I've seen, the film is a real treat for fans of spaghetti horror.

The film is a visual feast and has a great score by Bruno Nicolai. It is rich in atmosphere and '70s spirit.

The cast are excellent - Antonio De Teffè is outstanding as the "nuttier than a bottle of chips" Lord Alan Cunningham. There is a bevy of beauties in this movie (which always helps the proceedings), notably Marina Malfatti as Gladys Cunningham.

There are some genuine surprises in this film, I thoroughly enjoyed it. A solid 7 stars.

Nice mix of giallo an Gothic horror, brought to you by Emilio Miraglia, writer/director of Red Queen Kills 7 Times. Maybe Miraglia likes red, as this is a tale of a dead red-headed wife, and a series of red-headed prostitutes brought home by the rich widower, Lord Alan Cunningham (Anthony Steffen).

Not only does Alan bring a lot of redheads home to his castle, which means a lot of flesh for your enjoyment, but he has a propensity to engage in a little sadism while he is at it, as Susan (Erika Blanc) finds out.

After Susan, he meets Gladys (Marina Malfatti) at a party. He is instantly attracted (and who wouldn't be?) even though she is a blond, not a redhead. So much so, that he asks her to marry before he even gets her in bed. She is much more practical, and goes to bed without marrying, though I suspect she feels it will lead there eventually.

When they are married, the title comes alive as does Evelyn, his first wife. Naturally, I suspected Albert (Roberto Maldera) and Aunt Agatha (Joan C. Davis) in this ruse, but that is quickly dispelled. Needless to say, the foxes didn't have any appetite for breakfast after a late night snack.

Things move forward with a double double cross and a surprise ending. Interesting giallo with boobilicious treats.