User reviews

This late-ish effort from Freda plays as a modern day (70's that is) Gothic thriller, but comes out short of thrills. Certainly it's not a dreadfully bad film, it's jut got that feeling which many of Freda's later films have of someone who has given up when he's seen the first daily's. It starts out good enough, almost giallo like in tone, then takes a turn into Gothic territories with a decent (albeit terribly cliché) set up. Then suddenly Freda seems to have lost interest in the film and all we get is prolonged shots of Camille Keaton and burning candles. Then circa an hour into the film we get some sort of violent climax with decent-to-poor special effects. This is followed by a slow paced outro with a very obvious twist ending (If it's even intended to be a twist?). And throw a few very halfhearted explanatory scenes along the way and you got Tragic Ceremony. Thus in parts it's got its qualities. But then suddenly stumbles and collapses in front of you. A pity.

btw stay away from the SHAROMA DVD, a useless murky pan& scan edition which kills of what could be a good visual experience.

Strong first half and mediocre second half.

The first half is filled with the slow building dread of the occult. There is a wonderful and unexpected climax that I won't spoil.

Then, the second half begins. And it kind of devolves into a mini-slasher story. The film recovers in the final scene which ties back to the first half.

It's def worth checking out for the fan who has already seen everything and likes genre bending.. even if it's only partially successful.

This somehow odd film from Italian Cult Gothic Horror director Freda ("L'Orribile Segreto del Dr. Hichcock") is almost unknown and extremely difficult to find nowadays.

Made a year after his rough Giallo "L'Iguana Dalla Lingua di Fuoco" (see also my comment on that), the title suggests yet another Giallo (it means "Taken From the Secret Police Files of a European Capital" and fits perfectly into typical over long and wonderful Giallo titles like "Il Tuo Vizio e una Stanza Chiusa e Solo Io ne ho la Chiave" of the same year). But, in fact, this film is not a Giallo at all - but a Gothic horror story about a cursed pearl necklace and a strange Satan's Cult which gets confronted by a hippie quartet on a day out. The story sounds unique, and the film is it, too.

Made on a very low budget, Freda made more than the best out of it and created a strange movie with all the classic Gothic elements, and also boosts a handful of astonishing gore effects that echo the rude sequences of his Giallo a year before.

The cast is lead by Camille Keaton of "I Spit on Your Grave" fame, while Luigi Pistilli ("Reazione a Catena") delivers another neat performance as the leader of the strange Cult. The soundtrack is composed by Stelvio Cipriani and is cool as usual. A film worth looking for despite its rarity.

The original title of 'Tragic Ceremony' is 'Estratto dagli archivi segreti della polizia di una capitale europea', which roughly translates to 'Extract from the secret archives of the police of a European capital', a nonsensical title that is oddly fitting for this strange mess of a movie.

Riccardo Freda had a long and spotty career, but managed to direct a few decent horror and giallo films, including 'I Vampiri' (with Bava), 'The Ghost' and 'The Iguana with a Tongue of Fire'. Despite having a decent cast, including Luigi Pistilli, 'Tragic Ceremony' is sorely missing a compelling character or solid plot, and instead relies on horror gags and schlocky special effects to keep you watching.

The story follows four hippies who go camping, where we find out they're harbouring a dark secret. They run out of petrol and seek refuge from a storm at...you guessed it...a creepy old mansion where satanic rituals are taking place. There are some interesting and eerie moments along the way, if you can stay interested through the incredibly boring bits.

The script is just abysmal and characters are so poorly drawn, the actors seemingly don't know how to act half the time-or maybe they just don't know how to act. No character arcs, no back stories, in fact, it's hard to even know why we should care what happens to them. There are several moments where something incredibly shocking happens, yet the characters don't bother discussing it, not a word, just move on and talk about mundane things, as if it never happened. There are massive plot holes, catastrophic logic failures and unnecessarily detailed explanations of paranormal events.

There is one scene that's almost worth watching the entire film for, but they manage to ruin even that by repeating it over and over via unnecessary flashbacks.

If you're a hardcore Italian horror fan, 'Tragic Ceremony' might be worth a watch out of curiosity, but most people will find it tedious and a tragic waste of time.

"Tragic Ceremony" follows a group of hippies (three men, one woman) whose car dies during a rainstorm in the English countryside. They end up at a large estate where the lord and his lady offer them fuel for their car and a place to sleep. Unfortunately, the house guests are subject to a black mass and attempted human sacrifice that goes awry; they escape the event, only to be picked off one by one in the ensuing hours.

This generally weird and largely unknown horror flick was briefly unearthed by Dark Sky Films, who released it on DVD in 2008, but it's still one of the lesser-known oddities of early seventies Italian horror. The film starts out rather orthodox with its young adult characters stumbling into a large mansion, but it doesn't follow the narrative trajectory one would expect. The film's centerpiece is undoubtedly the explosively gory black mass sequence, but rather than occurring at the climax, it instead happens about midway through; this gives the film's narrative arc a remarkably unusual shape that destabilizes the audience's expectations, be it for better or for worse.

While this central scene boasts some creepy imagery and surprising gore, the dreamlike second act of the film is what I found to be most unsettling. After the surreal black mass sequence, the audience follows the four characters in the aftermath of it, which plays out with heady overtones. The heightened black mass scene seems to have the effect of unsettling the audience as much as the flummoxed characters who are trying to piece together what they witnessed, and from there onward the film begins to unravel in the style of a supernatural slasher flick. Their retreat to the country house offers a few chilling scenes, but perhaps most memorable are the one-on-one scenes between Jane and Joe in the penultimate sequence in the woods. There is a quiet, unsettling tone that is rather masterfully achieved in the last half of the film, and this sequence in particular offers some chilling images and atmosphere.

Camille Keaton stars here as the female lead, just after she'd completed her debut work on the giallo "What Have You Done to Solange?" She has an ethereal but disquieting screen presence as always, and the performance is understated but effective. She is surrounded with three Italian/Spanish male actors, each of whom play off of both her and each other fairly well as disaffected hippies. The film has a clever twist at the end that is unfortunately marred by a slipshod imitation of the conclusion from "Psycho," which feels totally unnecessary and tacked on with little forethought.

The silly handling of the conclusion aside, I still found "Tragic Ceremony" to be a weirdly unsettling film. It is certainly not a masterpiece, but the bizarre narrative arc combined with the moody cinematography and Keaton's haunted performance really lend some vitality to the proceedings. The last half of the film plays out like a dream (or a nightmare), and there is an appreciable sense of foreboding that can't be shaken by the audience anymore than it can the characters on screen. 7/10.

(1972) Tragic Ceremony/ Estratto dagli archivi segreti della polizia di una capitale europea (In Italian with English subtitles) HORROR

Four friends of Bill (Tony Isbert), Jane (Camille Keaton), Joe (Máximo Valverde) and Fred (Giovanni Petrucci) are coming out from sailing, and decide to make camp. Bill then gives Jane a pearl necklace, we find out the reason he gave it to her is because his own mother showed no interest in it after she found out it may have been cursed as a result of some exorcism. And upon Bill driving everyone home on his dune buggy, he then stops at gas station where no one is carrying any cash. Bill then tries to pay him by write him a check. The gas attendant refuses but does give him enough gas to drive to a villa nearby where Rolls Royce are parked on the driveway. After they find a pail of gasoline, they are then decide to wait until the storm dies down and stay at the villa as house guests by Lord Alexander (Luigi Pistilli) and his wife, Lady Alexander (Luciana Paluzzi). Lady Alexander then lures Jane to go with her to sleep on one of the rooms while her three male friends decide to hang around in the kitchen helping themselves to baloney and cheese. Meanwhile, while Jane is taking a bath, Lady Alexander and her husband walk down below and are practicing witchcraft ceremony while one of it's own members are playing the organ. For some strange reason, while Jane is listening to the organ music, she becomes entranced by it while her other three friends are still hanging around in the kitchen and unable to hear it at all. Jane then without saying nothing walks straight down to where cult followers are practicing and they appear to expect her presence. When Joe decides to investigate he first finds her clothes and her not in her bedroom. He then calls his other friends while carrying her clothes just so they can try to track her, and while going down the stairs they notice the pearl necklace is broken, and manage to save her when Bill manages to direct Lady Alexander to stab herself.

Some of the questions I had while watching this, is that the four stars had no reason to run away as the cult followers were planning to kill and sacrifice Jane anyway. Everyone amongst the cult group end up killing one another and are witnesses to the entire event to the police. The other thing I could not stop thinking is the fact that on one hand Jane says her parents are waiting for her, only then the next scene she never calls them or ask the Alexanders whether they have a phone to call them. And if the gas attendant never existed how did they manage to garner enough gas to drive up to the "secret ceremony" villa.

"Tragica Ceremonia En Villa Alexander" is a wonderfully creepy ghost story made by Riccardo Freda.Freda is the best known for his early Gothic horror movies like "I Vampiri" and "The Horrible Dr.Hitchcock".The film is well shot,with some gloomy atmospheric imagery and outrageously gory set-pieces.The acting is pretty good with Camille Keaton("I Spit on Your Grave")in the lead role.The soundtrack by Stelvio Cipriani is truly beautiful and haunting.The gore effects are pretty nasty and shocking,and the climax is truly eerie.The film is extremely rare and hard to find,so get the copy as soon as possible.The plot is as follows:a group of friends run out of gas in the middle of nowhere during the thunderstorm and find refuge in a villa.Little do they know that the owner is about to have a black mass in the basement!Soon the orgy of blood-soaked violence begins!

Tragic Ceremony is certainly tragic. This 70s attempt at Satanic horror is lazy and meandering, in a bad way. A wealthy man, a pretty young woman who at first appears to be his date, and two hired men are sailing on a beautiful day. When they set up camp on the beach, it becomes obvious that the three men are actually all friends and that the lady is with one of the poorer fellows. Fair enough.

Even audio in Italian couldn't save this film. The lead actress has a terrible face, she always looks like she's upset, defiant, or pouting. She never reacts normally to any circumstance - being quietly rude to her hostess at the mansion, then switching to unnaturally calm after she's almost sacrificed to the devil.

But wait! That's only the middle of the movie!

The group tries to run away from the Satanists to find shelter, only to be kicked out by the rich guy's mom. When they flee to his father's cabin instead, the aforementioned rich guy suddenly appears dead in an antique armoire, and the immediate cause can only be that he's covered in green paint. Yikes.

Riccardo Freda may have a good reputation; but since we now that many of his best films were, in fact, directed by the late great Mario Bava; it's clear that he wasn't one of Italy's most gifted filmmakers back in the seventies. This film pretty much proves that as despite the simplistic plot; it's a sprawling mess and overall, I'd even have to go as far as to say that Tragic Ceremony is WORSE than Freda's insipid Giallo effort, The Iguana with the Tongue of Fire. Freda apparently disowned this movie, and I certainly don't blame him! The plot simply follows a bunch of kids that run out of petrol in the middle of nowhere. They happen upon a house while searching for fuel; but it turns out to be a bad choice, as the owner is just about to conduct a satanic ceremony...ho hum. The film features a lead role for Camille Keaton, who would go on to star in the exploitation classic I Spit on Your Grave some years later, but fails to make an impression here despite acting alongside a cast of talentless performers. The film features one decent gore scene towards the end, but this really isn't enough considering that it takes eighty minutes of tedium to get there. I have a high tolerance for rubbish Italian films that don't make sense - but even I couldn't stand this one. Miss it, miss nothing!

A free-spirited quartet of young hippie-types (Jane (Camille Keaton), Joe (Maximo Valverde), Bill (Tony Isbert), and Fred (Giovanni Petrucci)) are on a pleasure trip when their terminally unreliable vehicle becomes virtually unusable on a stormy night. They take refuge in the villa owned by the Alexanders (Luigi Pistilli, Luciana Paluzzi), who have a sinister agenda planned for the night. When our protagonists interfere, they are subject to more terror than they can handle.

Rather slow to start, and awfully talky at times, "Tragic Ceremony" is a standard tale in some ways (complete with the use of the "old dark house" and "stormy night" tropes), and delivers no big surprises, but it walks an interesting line between suspense and spectacle. The four main characters are set up as basically engaging people who are easy enough to watch, and the supporting cast is strong. (The great Paul Muller turns up at the very end as a doctor whose job is to provide a final bit of exposition.) Keaton, the memorable star of the infamous exploitation-revenge-thriller "I Spit on Your Grave", is a compelling, striking beauty from whom you can't take your eyes. The music (by the talented Stelvio Cipriani) is good, as well as the location shooting. But what really makes sitting through this somewhat obscure Italian genre flick worth it is the massacre that occurs at approximately the midway point. You can tell that the filmmakers were pleased with their "sword cutting into a guy's head" effect (the FX were by Carlo Rambaldi): we see it a total of five times before the film is over!

Director Riccardo Freda apparently resented the job of guiding this particular film, but the results on screen are still pretty effective. At least it doesn't play out in a *completely* predictable way; the films' second half makes it worth sitting through the first half.

Six out of 10.

Some stars are world-famous and forever immortal for just one role they played. Camille Keaton, for instance. She was the lead actress of the notorious "I Spit on Your Grave", in which she cut off the wiener of a rapist in a bathtub and instantly became a cult siren. What most people have forgotten, however, is that the lovely and damn sexy Keaton also starred in a handful of Italian gialli/thrillers, including this oddly amusing genre hybrid.

The official title roughly translates as "Extracts from the Secret Police Files of a European Capital". Since it's a downright horrible title, the film is commonly known as "Tragic Ceremony", but even that is slightly misleading. "Tragi-comical Ceremony" would be more apt, since the titular black mass where the film builds up towards to is literally a MESS. The film starts out with a free-spirited and hippie-like atmosphere, with four young friends on a yacht, around a camp site with a guitar, and in a dune buggy. There's one girl for three boys, so monogamy is definitely out of the question. The buggy runs out of gas on a stormy night, and a vicious gas station attendant sends them to the mansion of the wealthy Lord & Lady Alexander. Then quickly comes the hilarious "ceremony"! The intention is to sacrifice one girl (Keaton) but the whole thing turns into massive bloodbath, with extremely cheesy gore and chaotic shrieking. Although the undeniable highlight of the movie, the insanity doesn't stop here, since our young friends escape from the mansion but nevertheless die in mysterious and gruesome circumstances shortly after.

The plot is shamelessly and blatantly inspired by the, in 1972, still fairly recent murders committed by the Satan-worshiping followers of Charles Manson. The name of poor Sharon Tate is even boldly mentioned. There are quite a few dull moments, but "Tragic Ceremony" is curiously addictive horror oddity worthy of its cult status. Several great names involved, too, like director Ricardo Freda, writer Mario Bianchi, composer Stelvio Cipriani, and acclaimed cast members like Luigi Pistilli and Luciana Paluzzi.

Engaging on a cruise together, a group of carefree youths become stranded in the wilderness and seek shelter from a raging storm in the mansion of a coven of witches which is the start of their troubles when they escape from their clutches

This here was quite the enjoyable and entertaining slice of Eurotrash. One of the film's strongest points is the fact that it manages to evoke and exploit the Gothic trappings of the past with the elegant sleazy thrills allowed in that time-period, offering up a chilling and sensual offering. The trappings within the house, from the long twisting hallways filled with stone and steel arrangements and billowing curtains are suitably Gothic and chilling, lending a far older throwback feel to the scenes of them being shown around once they arrive or the scenes of them seducing her into essentially sleepwalking through the mansion grounds to their ceremonial meeting place within the basement hall, and when coupled with the driving thunderstorm and howling wind constantly in the background there's a rather fun ambiance to this one. It's certainly helped out by the majority of these scenes requiring candelabras or other such lighting to take place so the scenes of the interrupted first sacrifice attempt with the coven in the satanic basement with the large Gothic settings providing some nice thrills in accordance to the fine massacre that breaks out where they begin brawling with the coven and generating some nice kills along the way. There's also the rather intriguing storyline idea about the fact that they actually manage to escape from the group rather than spend the vast majority of the film in their clutches unknowingly with them, and the fact that it takes a slew of twists and turns throughout here which manages to show that they've still got to deal with the followers of the coven as the series of strange encounters they come across are quite fun and enjoyable, from finding the desiccated body of their friend to the discovery of the suicide attempt in the bathroom. Given that it all turns around following the TV incident of their encounter at the mansion which is quite fun and enjoyable with the rest of the film taking place as if their curse is enacted on them for what happened and just completes the Gothic atmosphere present here as this is all added alongside the hypnotic visions and cheap-looking gore that really works nicely for this one. With a fine twist and some nice sleazy gore and nudity, there's a lot to like here even though there are some problems here. Among the few flaws to be found here is the fact that there's such a languid and dreary pace in the first half before they arrive at the mansion as the scenes of the group getting stranded and basically showcasing their rotten luck getting there isn't all that interesting. Going step-by-step in getting them from the beach to the gas station to the mansion isn't all that much fun to see played out in the manner depicted here and there's a bit of a hurdle to get over with this one. There's also the fact that this one really doesn't make much sense as for why it changes around the traditional second half storyline with their escape and then subsequent violent hallucinations which are quite chilling as they play out even though in the interim they don't make any sense. It's a little disjarring and makes for a somewhat disjointed feeling as it carries itself along here in not really making for a cohesive storyline. Coupled with some rather cheap and rather unconvincing gore during the attacks, these here are the ones that hold this one back.

Rated Unrated/R: Graphic Violence, Language and Nudity.

An early appearance by Camille Keaton gives Tragic Ceremony its main point of interest. It's not as good as What Have You Done to Soalnge?, but her role is substantial enough for fans to check it out.

Probably it ranks as the second-best of her Italian-era appearances. Her icy beauty and blank expression are suited to her largely passive role.

The plot falls into the Old Dark House genre, with four fashionable and well-off young people becoming stranded at a mansion on a stormy night. Sort of like a straight non-musical version of Rocky Horror.

Black magic and other supernatural events follow, with logic going out the window. The supernatural elements keep this from really being considered as classical giallo.

But there is a fair bit of detective work and violent crime, so some people still put under the giallo banner. It's not apparent in the costumes and locations, but the action is supposed to be in the UK as Scotland Yard is mentioned.

Overall, it is a bit of a generic mix of Gothic horror and police motifs that never reaches its full potential.

Riccardo Freda's "Estratto dagli archivi segreti della polizia di una capitale europea" (1970) is a gritty and atmospheric giallo thriller that immerses viewers in the seedy underbelly of a European capital. While the film occasionally stumbles in its pacing and narrative cohesion, it delivers enough suspenseful set pieces and stylistic flourishes to keep audiences engaged.

The standout performance comes from Gianni Garko as the troubled Inspector Luca Bertone, tasked with unraveling a string of brutal murders. Garko's brooding intensity and world-weary demeanor perfectly capture the essence of a jaded cop grappling with the darkest corners of human depravity. His confrontation with the deranged killer in the climactic scene is a masterclass in tension-building, leaving viewers on the edge of their seats.

Freda's direction shines in the film's atmospheric set pieces, particularly the harrowing murder sequences. The use of shadows, tight framing, and jarring sound design creates a palpable sense of dread and unease, reminiscent of the best giallo thrillers of the era. The film's gritty depiction of the criminal underworld, complete with seedy nightclubs and back-alley dealings, adds an authentic layer of grime that grounds the story in a tangible reality.

However, the film is not without its flaws. The narrative occasionally meanders, losing focus and momentum, leaving the audience struggling to piece together the convoluted plot threads. Additionally, some of the supporting characters feel underdeveloped, serving more as plot devices than fully realized individuals.

Despite these shortcomings, "Estratto dagli archivi segreti della polizia di una capitale europea" remains a compelling and stylish entry in the giallo canon. Freda's skilled direction, coupled with Garko's magnetic performance and the film's atmospheric visuals, make for an engaging and suspenseful viewing experience. With a rating of 6 out of 10, this gritty thriller is a must-watch for fans of the genre, offering a glimpse into the darker corners of European cinema.

Riccardo Freda's "Estratto dagli archivi segreti della polizia di una capitale europea" (1970), which translates to "Extract from the Secret Police Archives of a European Capital," is a curious blend of crime thriller and psychological drama that offers an intriguing, if somewhat uneven, cinematic experience. This lesser-known Italian film showcases Freda's directorial prowess while grappling with complex themes of power, corruption, and moral ambiguity.

Set against the backdrop of an unnamed European capital, the film weaves a intricate narrative centered around a series of mysterious crimes that have baffled the local police. Freda's decision to keep the setting ambiguous adds an air of universality to the story, suggesting that the dark undercurrents explored could be present in any major European city.

The film's strength lies in its atmosphere, with Freda masterfully creating a sense of tension and unease that permeates every frame. The cinematography, with its emphasis on shadow and light, contributes significantly to this mood, often recalling the visual style of film noir while incorporating more modern, experimental techniques.

Adolfo Celi delivers a standout performance as the lead investigator, bringing a weary intensity to his role that anchors the film. His character's moral struggles as he delves deeper into the case provide some of the most compelling moments in the film. Celi's nuanced portrayal of a man grappling with his own ethical boundaries while navigating a corrupt system is one of the film's highlights.

One particularly memorable scene involves a tense interrogation that gradually escalates into psychological warfare. Freda's direction shines here, as he ratchets up the tension through subtle shifts in camera angles and lighting, creating a claustrophobic atmosphere that mirrors the mental state of the characters.

The film's script, while ambitious, sometimes struggles to maintain coherence as it juggles multiple plot threads and character arcs. This complexity, while initially intriguing, occasionally veers into confusion, potentially leaving viewers struggling to keep track of the various narrative strands.

Freda's exploration of themes such as the abuse of power, the nature of justice, and the thin line between law enforcement and criminality is thought-provoking, if not always fully developed. The film raises interesting questions about the role of police in society and the potential for corruption within institutions meant to protect the public.

The pacing of "Estratto dagli archivi segreti della polizia di una capitale europea" may test the patience of some viewers. Freda often prioritizes mood and character development over action, resulting in a slower-burning narrative that may not appeal to those expecting a more conventional thriller.

The film's score, composed by Stelvio Cipriani, deserves special mention. It effectively underscores the tension and paranoia that permeate the story, adding another layer to the film's unsettling atmosphere.

However, the film is not without its flaws. Some of the supporting performances are uneven, and certain plot developments strain credibility. Additionally, the film's treatment of female characters feels dated and occasionally problematic by modern standards.

For fans of European crime thrillers and those interested in exploring the less well-known corners of Italian cinema, this film offers an intriguing, if sometimes challenging, viewing experience. While it may not reach the heights of the best examples of the genre, it remains a fascinating artifact of its era, reflecting the social and political anxieties of its time through the lens of a noir-tinged crime drama. Adolfo Celi's performance alone makes it worth seeking out for cinephiles and fans of complex, morally ambiguous characters.

I recently watched the Italian film 🇮🇹 Tragic Ceremony (1972) on Tubi. The story follows a group of privileged friends returning from a yacht trip, only to discover their cars are out of gas. Seeking shelter for the night, they find a remote mansion-unaware that they might not make it until morning...

Directed by Riccardo Freda (Witch's Curse), the film stars Camille Keaton (I Spit on Your Grave), Tony Isbert (The Rift), Luigi Pistilli (The Good, the Bad and the Ugly), Luciana Paluzzi (Thunderball), and Máximo Valverde (Fresh Flesh).

This is an uneven but entertaining horror film. It has an engaging premise, beautiful leading ladies, a classic horror setup, and solid atmospheric settings. The horror makeup is wild but fun, featuring a memorable throat slash and some gruesome corpses. The last 15 minutes are especially strong, delivering a solid reveal and conclusion. My biggest complaint is that the background music doesn't always match the scenes, but it's a minor issue.

In conclusion, Tragic Ceremony is neither great nor essential, but it has enough to offer for the right audience. I'd rate it 5.5-6/10 and recommend it with the appropriate expectations.

Tragic Ceremony (Italian: Estratto dagli archivi segreti della polizia di una capitale europea) - 1972 (This Film Rates a C+ ) The story follows a group of friends who, after a sailing excursion and a subsequent car breakdown, seek refuge in a nearby mansion, only to discover that it is inhabited by a mysterious and sinister cult engaged in devil worship. As the story unfolds, the group finds themselves entangled in a desperate bid for survival, culminating in a gruesome and chaotic confrontation. Its great bloody fun and so terrible you will laugh and enjoy every moment of it. Eventually the group escapes the mansion but not the ensuing madness. Sadly the ending seemed rushed and convoluted plus the ultimate story line is too far fectched to pull the film together. The script, acting, and soundtrack are average as is most of this film. Some brief boobs.