Fantasma de Biquini

This is a mishmash of old Universal horror cliches done up European style by the notorious Dick Randall, who is known for marrying Jayne Mansfield and producing a string of wildly eccentric exploitation films mostly in Europe. This movie has a horny dwarf, a Neanderthal man in feather boots played an actor calling himself Boris Lugosi(!) and a Frankenstein monster who looks like Bozo the Clown. And it's always fun for fans of Eurotrash cinema to spot regulars like Gordon Mitchell and Luciano Pigozzi giving it their all. This Gothic goofiness should satisfy all fans of 70s Eurohorror.

With a trash cast consisting of Edmund '2019: After The Fall of New York' Purdom, Gordon 'Frankenstein '80' Mitchell, Luciano 'Rather a lot of films' Pigozzi and Mike 'Strike Commando' Monty, you'd come to this film expecting a lot, and leave feeling kind of let down. How can a film featuring a necrophile dwarf get it so wrong?

Well for starters it probably should have spent more time concentrating on the horror angle than all the other stuff it fannies about with in the first hour of the film. To set the scene: Count (?) Frankenstein lives in a huge castle with his band of freaks who like to do grave robbing with him, including sidekick Luciano Pigozzi, a hunchback guy who's having it off with Luciano's wife, then there's big Gordon Mitchell, and a dwarf who looks like Nicholas Cage in miniature form who gets up to all sorts of mischief, including fondling exhumed girl corpses and donking up Frankenstein's newly acquired dead Neanderthal.

These cavemen have been plaguing the countryside for ages, and the local villagers are blaming Frankenstein for that and the girl's body going missing. It's up to Edmund Purdom as local policeman to sort all that out. Plus, just to increase the cast and pad out the film more, Frankenstein's daughter, boyfriend and her top heavy pal come to visit, which gives the film and excuse for nudity and most of the staff of the house peeking in on naked ladies (through the eyes of a portrait, naturally).

The plot trundles along lamely while we watch Luciano Pigozzi scheme against the dwarf, and the dwarf gets exiled and ends up shacking up with another Neanderthal, played by The Beast from The Beast In Heat, a man who has no need for make up to play either. The movie then concentrates on the more important plot points like whether or not rabbit should be eaten raw or cooked. I suppose some skinny dipping does keep from falling asleep, mind you.

Things are all gearing up for a Neanderthal Frankenstein monster versus regular Neanderthal battle at the end, but the film completely forgets to include any horror, unless savage throttling counts as horror. Worse still, Gordon Mitchell is barely in it and has nothing much to do, and although Luciano Pigozzi at least stands out as the scheming servant, Edmund Purdom just sort of runs around pointing at the things.

Not the best Gothic horror then. Shame. It's too well made to be stupid in that sense either.

This is an incredibly goofy monster/horror movie with some softcore porn and a fairly nasty rape/murder scene so don't let kids watch it, but it's great fodder for the riffers at Cinematic Titanic. The movie is so bad it makes you laugh even without all the jokes, and the jokes make it hysterically funny.

The Italians were the kings of the Horror genre from the 60s to the 80s, and, as far as yours truly is concerned, the combination of this genre, era and country is as great as cinema can possibly get. The rise of Italian Horror/suspense cinema started with atmospheric Gothic tales (such as the brilliant films by the ultimate master Mario Bava, Antonio Margheriti and Riccardo Freda) in the late 50s and early 60s. In the 70s, a time when the Giallo genre had replaced the Gothic tale as the dominant sub-genre Italian suspense cinema, some (but by no means all) of the Italian Gothic Horror films that were still being produced were very low-budget and sleazy, but nonetheless elegant Exploitation efforts.

TERROR! IL CASTELLO DELLE DONNE MALEDETTE aka. FRANKENSTEIN'S CASTLE OF FREAKS (1974) is a super-cheesy slice of 70s Italian B-movie Gothic Horror which will certainly not give anybody the creeps, but which is incredibly entertaining nonetheless. Directed by the American Dick Randall, the movie puts a lesser emphasis on the typically Italian elegance and atmosphere, and, sometimes looks more like one of the many contemporary Spanish Gothic Horror films (which is probably due to the low budget). Sleaze-fans should not be scared off by the PG rating (as according to IMDb), since this little trash gem contains plenty of female nudity, perverted characters and some very cheesy gore effects. The film doesn't take itself too seriously, and the demented characters alone make it worth a look for my fellow Euro-Exploitation fans.

Count Frankenstein (Rosanno Brazzi) lives in a castle with a bunch of freaky helpers including a necrophiliac midget, a hunch-back who has rough sex with the housekeeper when her sadistic husband (Luciano Pigozzi) is not around. His hot daughter (Simonetta Vitelli) comes to visit with her fiancé and an equally hot friend (Christiane Rücker). Both of the women have exhibitionist tendencies. What follows is a sleazy and incredibly entertaining succession of very absurd horrors.

While FRANKENSTEIN'S CASTLE OF FREAKS is below-par in terms of style and elegance by the high Italian Gothic Horror standards it is still very stylish for a rather nonsensical B-Movie of the kind in international comparison. The most well-known faces in the cast are former strongman and B-movie regular Gordon Mitchell (in the role of the undertaker) and the Peter-Lorre-lookalike Luciano Pigozzi, a great supporting actor who was in all sub-genres of Italian cult-cinema, including several films by Mario Bava and Umberto Lenzi.

Overall FRANKENSTEIN'S CASTLE OF FREAKS is a sleazy, very cheesy, and often unintentionally funny trash-gem that is incredibly entertaining and should not be missed by true lovers of European Trash flicks. However, one should definitely be acquainted with the many great Italian Gothic Horror films before watching fun trash like this one. For Italo-Cult buffs like myself this film is often hilarious and vastly entertaining.

Even die-hard fans of the 60's Italian Gothic horror films of Bava, Fredda, et. al. would have to admit that those films aren't known their careful, logical plotting. But in the 1970's when these films were freed from the constraints of censorship (and good taste) and fell into the hands of less talented directors, they REALLY went off the rails, veering between downright silly and completely insane (sometimes both at the same time). And nobody suffered more during this period than Frankenstein's monster.

In this film "Count Frankenstein" (apparently he was demoted from Baron) takes time off from his building his monster to woo his busty adult daughter's even bustier friend. Meanwhile he has fired his lecherous hunchback dwarf assistant after catching him feeling up female corpses (did I mention this was originally rated PG?). The disgruntled and vengeful dwarf then does what any disgruntled, vengeful dwarf would do in a movie like this--he finds a group of Neanderthal men living in a nearby cave and befriends a particularly large one named "Oog". The pair plot their revenge (although not before taking time off to watch the Count's daughter and her friend skinny-dipping). As you might imagine the end is a ridiculous battle between caveman and Frankenstein's monster.

This film is similar to "Lady Frankenstein" but not as good. Lead Rossano "South Pacific" Brazzi is frankly not as good of actor as Rosalba Neri/Sara Bay (he probably doesn't look as good naked either, but fortunately we never find out). It also doesn't compare to "Flesh for Frankenstein" lacking that film's self-consciously artistic NYC irony, but all these Italian Frankenstein films are similar enough to give lie to claims of "F. for F." co-director Paul Morrisey (the guy who replaced the tripod in Andy Warhol's home movies) that his Italian collaborators made no significant contribution to that film. On the other hand, this movie is better than "Frankenstein '80" (although its PG rating precludes the rape-by-Frankenstein's-monster angle of that one). It's also better I than "Frankenstein All'Italia" (I'm not sure though since that one's only available in Italian, and I only watched it because of my strange crush on the late, obscure Italian actress Jenny Tamburi). As Italian Gothic Frankenstein sex movies go than, this one is fair to middling. You can take that as as a recommendation or not.