Raptus - O Diabólico Dr. Hichcock

The Horrible Dr. Hichcock (1962)

*** (out of 4)

Dr. Hitchcock (Robert Flemyng) administers a drug to his beautiful wife but he accidentally gives her too much, which causes her to overdose and die. The pain causes him to leave him home but years later he returns with his new wife Cynthia (Barbara Steele). It doesn't take too long for the new wife to start seeing and hearing mysterious things, which could be the dead wife.

THE HORRIBLE DR. HITCHCOCK is a pretty good horror film from director Riccardo Freda who skips out on blood or graphic violence and instead delivers atmosphere and some great performances. The film became a pretty big hit when it was originally released and it continued to gain new fans as it showed up on American television. There are two different versions out there with the original Italian version running twelve-minutes longer than the American cut but it's the American version that is currently available on Blu-ray and is what I watched.

For the most part this is a pretty good film that works perfectly in that "old dark house" way where we're given an innocent woman put into a dangerous situation and we're not quite sure what's going on. Is she losing her mind? Is her new husband playing sinister tricks? Has the dead wife returned? These are the questions that are asked throughout the picture and Freda keeps the film moving at a nice pace. There's no question that it's a well-made film that contains some beautiful cinematography as well as a nice music score. Freda builds up a very good and rich atmosphere that carries the picture to the end.

Another major plus is the fact that the performances were so good. Flemyng is very good in the role of the husband because he plays it so perfectly down the middle that you can never tell what he's up to. Then you've got Steele who once again delivers a great performance as the wife who finds herself seeing ghosts and other strange objects. THE HORRIBLE DR. HITCHCOCK isn't a flawless movie but it's certainly an entertaining one.

This minor but interesting entry in the Italian Gothic/horror genre is a first in that no film had ever dealt before with the subject of necrophilia. Set in London in 1885, Robert Flemyng portrays Dr. Bernard Hichcock who kills off his first wife, digs her up for a little body worship, then marries the ever-ravishing Barbara Steele. Harriet White Medin is perfect as the spooky housekeeper with an ample supply of nasty secrets and protectress of the demented doctor. Flemyng, Steele & White Medin are quite a terror-ific trio and this flick is lots of fun. Beware of the truncated, rather mutilated American version known as THE HORRIBLE DR. HICHCOCK. The dictatorial director Riccardo Freda was responsible for making this film on a bet in just a few days but it doesn't show. HICHCOCK benefits from superb Technicolor and some nice locales and art direction. Even the castle mascot is a black cat named Jess-Belle. Required viewing for all fans of Barbara Steele as it is among her best Italian work. Freda was only equal or better with his work on I VAMPIRI and CALTIKI, IL MOSTRO IMMORTALE.

The plot ,which could be considered a horror "Rebecca" ,complete with the late wife who haunts the maleficent mansion,the unpleasant governess,in Mrs Denvers ' mold .One can also find the movie too slow-moving,but it does not matter.

The wonderful scenery (this house is a splendor) , the clever lightings , the superb colors make it a winner ;add the presence of Barbara Steele ,par excellence the Goth girl , an Edgar Poe atmosphere ,and a fancy for necrophilia ,and you get a must for horror buffs.

Many people, like me, will see The Terror of Dr Hitchcock purely for it's cult value. This is the best reason to see the film, as the value outside of it's cult status isn't exactly vast; but the film does offer other reasons that makes viewing worthwhile. First and foremost is the fact that it stars 'The Queen of Horror' Barbara Steele. Steele is an odd beauty, and her looks always ensure that she serves whatever film she's in well. She stars alongside Robert Flemyng, who takes the title role as Dr Hitchcock. Given that the film is supposed to be about him, I was surprised to find that most of the screen time focuses on Barbara Steele's character. This is either the result of Steele's status within the genre, or the fact that Flemyng's character is actually quite boring. This is the film's main problem. The themes on offer are intriguing and often make for great horror movies; but because the central character never really gets a chance to let his motives and desires shine through the performance; it's difficult to really connect with him or the film.

The story follows the aforementioned doctor. Dr Hitchcock is into necrophilia, and when his game that involves drugging his wife goes wrong and she winds up dead, Hitchcock is unable to let go and keeps her body in the cellar. He remarries and plans to use the blood of his new wife to bring back his old one. Like most Italian horror films from this period; the cinematography is awesome, and this is brought about by lavish sets and excellent use of lighting. A lot of the running time is spent on watching Steele run about the various rooms of the castle, and this would be quite boring if the film wasn't so beautiful to look at. The cinematography isn't enough to save the film, however, as a lot of what goes on does look suspiciously like padding for an otherwise thin plot. The film starts off slowly, and the pacing does pick up towards the end where the film is at it's most interesting. The Terror of Dr Hitchcock isn't a great film, or even a great genre film; but it's an interesting little flick that is best remembered for it's beautiful cinematography and the fact that it stars one of horror cinema's great actresses.

Gorgeously filmed, totally insane Gothic pastiche from Riccardo Freda holds its marvelously overwrought tone through to the fiery climax. At the center of it is Barbara Steele's Cynthia, the neurotic second wife of the eponymous Dr. Hichcock, who, from the second she arrives in her husband's creaky and apparently haunted mansion, is picturesquely threatened by the hostile maid, by a mysterious figure in white, purported to be the maid's sister, and by her own increasingly mad husband, who was already predisposed to pseudo-necrophilia, but who really starts to tip over the brink as he begins to believe his first wife has come back from the grave. It's all both lavish and ludicrous, and profits from Steele's incredible screen presence and the weight of its own images. Spectacular use of color, as well. Essential viewing.