Histórias Extraordinárias

'Spirits of the Dead' (1968), a French-Italian production narrated by Vincent Price, features three Edgar Allan Poe stories adapted for the screen and directed by three of Europe's most fascinating filmmakers of the period (choke!).

Vadim's segment (‘Metzengerstein'), starring Jane and Peter Fonda, is a real stinker. Has Vadim ever made a truly good film? Not really, so at least he's being consistent here by turning Poe's tale into a dull, silly mess. Striving hard for art's sake, he misses the mark each time. Q: Who wants to see Jane Fonda falling in love with Peter Fonda? A: Not me.

Malle's segment (‘William Wilson') is solid but not worth repeated screenings. Of note: Brigitte Bardot gets naked, verbally abused and whipped. No comment as to the merits of these actions or her presence; nevertheless, the tale's ending doesn't quite work.

Fellini's 'Toby Dammit' is classic, freakshow Fellini. Terence Stamp stars as a wasted British film star (looking like an effeminate junkie) and gives an awesomely convincing performance. Ultimately, his character gets a bit out of hand and, uh, loses his head. Good stuff that. It's probably fortunate that Fellini's is the longest and last segment; it is easily the film's strength and highlight. Unlike the first two tales, ‘Toby Dammit' was also released theatrically on its own, yet it is not available separately on dvd.

The ‘Spirits of the Dead' dvd first hit the market as an Image release. This is not the version to purchase. Image used a less-than-satisfactory source print, and the transfer looks crummy. Also, the menu is poorly designed and doesn't work quite the way one wants it to. Later, Home Vision released a higher quality version with four additional minutes of footage, using much finer source material. --- david ross smith

I'm a big fan of horror anthologies, especially the Poe/Hawthorne ones from Roger Corman and the Amicus films. Spirits of the Dead, based on Edgar Allen Poe stories and directed by Europe's most acclaimed filmmakers of the time, didn't disappoint...well, except for the first story.

#1, "Metzengerstein," directed by Roger Vadim. A cruel nymphomaniac countess (Jane Fonda) destroys the one man she can't have (Peter Fonda). That's right, this segment's biggest distinction is that it features a romance between real-life siblings Jane & Peter. Maybe I'm just a boor with no appreciation of high art, but watching those two gaze longingly at each other gave me the serious skeeves. Somewhere amongst the implied incest, the near- implied bestiality, and Jane's leftover costumes from Barbarella is the very thinnest of plots and narrative structure. Vadim doesn't seem to have any comprehension of suspense or what it takes to present a story that, if not scary, is at least spooky. You'll be constantly looking at your watch, but don't let "Metzengerstein" discourage you from seeing the other two stories.

#2, "William Wilson," directed by Louis Malle. An angel-faced but throughly rotten and sadistic man (Alain Delon) is hounded by a mysterious man that shares his name. This was a tight, satisfying little story. In contrast to Vadim, Malle is so talented at the art of suspense that he can make a simple card game exciting. Some reviewers have been put off by the scenes of misogyny--and to be honest, they did seem to spill over into exploitation. But I think it was necessary to present just how horrible the main character was, and to contrast it with how attractive he is physically (which to me was the most fascinating aspect of the segment). I found the ending slightly confusing, but still effective & tragic.

#3, "Toby Dammit," directed by Federico Fellini. This segment is so virtuoso and packed with Higher Meaning and Symbolism and Commentary On The Nature Of Man, God and the Devil that it really feels like its own movie. A jaded, alcoholic actor is invited to Rome to film a spaghetti western based on the life of Jesus Christ and attend a bizarre Italian version of the Oscars. The world as seen through Toby's eyes is populated with freaks, liars, and soulless puppets-- no wonder he prefers the Devil (uniquely and quite chillingly presented as a little girl). The scene where he is driving the Ferrari is a little overlong, but the ending is quite jarring and the last shot one of the unforgettable images of cinematic horror. The only real negative is that Terrance Stamp, who gives an incredible performance, has his voice completely dubbed by a French actor. If only we could have heard his own voice! It would be nice if Criterion could put this segment out on its own and give it the attention & study it deserves.

My vote of 9 is only for Fellini's entry, Toby Dammit. The other two are below the level of the average Twilight Zone, in my opinion. But Toby is so fine that I wish it could have been expanded to feature length. Perhaps the tone of agonized despair wouldn't have held up for 90 minutes but it certainly is great for 40. Stamp is superb. His role isn't easy, he's in every scene and has to descend from a very low point to an even lower one. Terence is completely believable the entire time. I'm not a fan of Fellini but perhaps he found his metier in humanistic horror.

it is strange to see a film ignoring its artistic virtues. because it is only a puzzle of directors and texts and actors and memories. a sort of experiment. seductive. and full of nostalgia. eccentric. and bizarre. stars, Romanticism, the shadow of Edgar Allen Poe and the mark of directors. it is strange to say what part is most remarkable. because, after the final credits , remains only the drawings in dust. and pieces of old velvet. a good kick to read Poe. again. because, maybe at the first sigh only, the film seems use his work only as pretext. but, like each part of film, it could be an impression.

"Spirits of the Dead"(1968) - adaptations of three Edgar Allen Poe stories by three European directors, Roger Vadim's "Metzengerstein" with Jane and Peter Fonda, Louis Malle's "William Wilson" (with Alain Delon and Briget Bardout), and Federico Fellini's "Toby Dammit". The universal opinion is that only Fellini's entry is worth watching and it is indeed, spectacular with Terence Stamp fitting so well in the Fellini's freak show that it is impossible to take your eyes off him. The reason I wanted to see the movie so much was the CD that I bought some time ago - a compilation of some of the most beautiful themes composed by Nino Rota for the films of Federico Fellini. "The Ultimate Best of Federico Fellini & Nino Rota" includes the tunes arranged in the medleys for 16 films directed by Fellini. These are the full orchestrations (as heard in the movies they come from) and just listening to the familiar melodies brings back the memories and the images. There was one track I kept listening to over and over. It was written for the Fellini's episode in the "Tre passi nel delirio" aka "Spirits of the Dead" (1968), "Toby Dammit". The soundtrack for "Toby Dammit" simply stands out among the romantic and poetic gems. It is rich, obsessive and creates uneasy and creepy atmosphere which is quite appropriate for an episode that features a desperate actor (Terence Stamp) in a pact with the devil. Besides the score "Toby Dammit" has plenty of great typically Felliniesque images , an unforgettable ending, and not the least, Terence Stamp who might've played one of his best roles as the famous English actor, drugged and drunk out of his mind who arrived in Rome for the Italian Film Academy Awards ceremony. Toby was also offered the role of Jesus in the Catholic Western but all he remembered that he had been promised a Ferrari for participating in the ceremony and Ferrari he will get...with the ride to hell that looks exactly like Rome at night where every turn takes you to the dead end and the Devil only knows the way out but you will pay him a price...

I found all three films interesting and involving in their own terms. I don't agree with the comments that call Vadim's adaptation a failure - it is certainly not. If anything, it is beautiful to look at and listen to and any film featuring Madam Roger Vadim (Jane Fonda was married to the director at the time) wearing the costumes that were certainly inspired by or even reused from "Barbarella" that was released in the same year, 1968 is worth watching. Vadim changed the short story by transforming a protagonist, 18 years old Baron Frederic Metzengerstein into 22 years old Contessa Frederica but he did not change her character. She is rich, bored, corrupted, and ruthless, a "petty Caligula", until she meets her cousin Wilhelm (played by Jane's brother, Peter Fonda). Making siblings playing cousins in love tells us something (or maybe a lot) about Vadim and his mysterious Slavic soul and reminds about Poe's own dramatic love for his first cousin, Virginia Eliza Clemm, whom he married when she was only 13 and whose death at the age of 25 from tuberculosis could have let to decline of his own mental state and his untimely death less than three years after her.

Poe explores in "William Wilson" very popular in the Art and literature subject of a man and his double that represents his conscience, his dark and hidden side. The short story brings to mind such famous works of literature as Hans Christian Andersen's "The Shadow", Adelbert Von Chamisso's "Peter Schlemiel: The Man Who Sold His Shadow", Robert Louis Stevenson's "Dr. Jekyll and Mr. Hyde" and Oscar Wilde's "The Picture of Dorian Gray".

In Louis Malle's short film, Wilson (Alain Delon) confesses his sinful and dreadful life to the priest recalling the outrageous and vicious deeds that have been prevented or disclosed by his exact double whose name is also William Wilson. Two scenes of the short film stand out. The first is a simply chilling Wilson's attempt to perform an autopsy on a living woman and the second – Wilson plays cards, cheating shamelessly, with rich and arrogant Giuseppina (Brigitte Bardot almost unrecognizable in a black wig that does almost impossible – makes her look ugly). While it may be not the best Poe's adaptation and perhaps the weakest of three films in the anthology, two Delons for the price of one is reason enough to see it. I am glad that I finally saw the film that has achieved a cult status with years but is not easily available (I had to wait for several weeks for it from Netflix even after I had bumped it to the top). What started with my interest in the musical score by Rota, ended as a memorable watching experience.