Les Amants d'outre-tombe

All right, the writing is something to be desired, but this movie is so richly photographed and the great '60's Scream Queen Barbara Steele is so alluring that it hardly matters. This movie uses Steele to full advantage, and even casts the sultry, sinister star in a dual role, much like Mario Bava's classic BLACK SUNDAY. Babs stars as a faithless wife who, along with her lover, is tortured to death by her vengeful-husband. However, her hubby finds that this may not have been the great revenge he thought it would be because his wife left her inheritance to her mentally unbalanced sister(Steele again, this time in a blonde wig). Of course, being the sadistic, money-hungry, conniving little swine that he is, he decides to marry his sister-in-law, and drive her to complete hysteria so he can commit her to the local loony bin and claim the family fortune for himself. Naturally, things don't go exactly as planned, but I won't give the rest of this weird little gem away. Shown in the US in a severely cut version that is so butchered, it's hardly worth watching. The original full-length European version is rare, but definitely worth seeking out.

'Night Of The Doomed' is an excellent Gothic thriller, full of mystery, atmosphere and chills. The stunning Barbara Steele, arguably the most beautiful Scream Queen of all, plays a duel role as an unfaithful wife, who is tortured and murdered by her scientist husband (Jess Franco regular Paul Muller), and the wife's mentally fragile sister. Muller marries the sister in an attempt to keep his hands on his late wife's fortune, needing the money to help finance his experiments. His new bride finds herself going through some increasingly strange experiences, which unbeknown to her seem to be caused by her dead sister's attempts at revenge from beyond the grave. This is a first rate example of a melodramatic supernatural thriller. Steele and Muller are both excellent and well cast, and their performances added to the stylish black and white photography, and an above average Morricone score, make this is a real treat for fans of Italian horror and giallo.

A mad scientist finds his wife cheating on him with the butler. After torturing them with electric shock and other gruesome methods (whippings, beatings) he finally kills them. But to get the inheritance from his wife's family, he has to marry her lunatic sister who is now cursed with the spirit of his dead wife. On top of this, we have an old women who remains young with the blood of the dead wife, who feels the dried and cold blood inside her.

Sounds good, right? And it is. The only thing that could have been better was the dubbing from Italian to English, but after the first five minutes you hardly notice anymore. The black and white really sets a mood and the fact the blood is black (because it can't be red) makes it seem even more sinister than it had to be.

Luca Palmerini calls this one an "elegantly executed story of love after death." Director Mario Caiano (under the name Allan Grunewald) is upstaged the same year by Mario Bava's "Planet of the Vampires", though I daresay the former is better. "Vampires" is given too much credit, while this film (and "Terror Creatures From the Grave") are forgotten. Caiano has said that Barbara Steele had a face that was "elusive and obscure", and was "an introverted sort of person." Considering her mythical status, even at the time, this may strike the viewer as odd. It sure seemed odd to me! And let us not forget the classic, creepy organ music by Ennio Morricone.

The Madacy DVD claims to be "digitally remastered", but is in the same poorly lit, grainy black and white as always. A better copy would surely improve this film's legacy. (Caiano had intended the film to be in black, white and red!) Interestingly, when you put the disc in a computer, it claims to be "Last Man on Earth".

I'm beginning to grow more fond of old horror films, especially with my disillusionment with modern horror. And this film is one of the better old horror films I've found. Recommended for those who are sick of Hollywood pumping horror films out for little girls.

Laughable dialogue doesn't detract too much from this moody, sometimes disturbing Italian Gothic. The story seems to be loosely adapted from an M.R. James ghost story called "Lost Hearts". Although the torture scenes in the uncut version are remarkably strong for their time, there are other things that are more disquieting. Most hideous of all is the character of Solange, the maid, whose youth has been restored by a dead woman's blood. When she speaks of how the blood grows cold and heavy in her veins, it's a very unsettling moment. The black-and-white photography is beautifully atmospheric. Ennio Morricone's music is more conventional than usual -- especially the mazurka that represents Muriel, which is too simple and sentimental for a Barbara Steele character... but the tremendous Fugue for organ which dominates the soundtrack deserves special mention. In spite of its lapses, and with apologies to Mario Bava, this is still my favorite Italian Gothic horror film!

I can see why the exotic Ms Steele has become a cult figure. With her odalisque eyes, sensuous mouth, and statuesque figure, she's a real scene grabber. Here she's got dual roles. First she's a philandering wife, Muriel, murdered by her vengeful Dr. Frankenstein husband, Stephen. Then she's Muriel's blonde sister Jenny who's being driven to madness by Stephen for her newly inherited fortune. Seems Stephen (Muller) has got this infernal potion that brings on ghostly dreams that he inflicts on hapless Jenny. Jenny's long been mentally frail, but now threatens to go over the edge. Interestingly, however, it's not always clear whether the ghostly figures are real or potion induced. Good thing Doctor Dereck (mase) arrives at the nightmarish castle to help.

The movie's richly photographed with glaring close-ups and deep shadow that highlight the Gothic horror. Unfortunately, the script's pretty sloppy, as other reviewers point out. Still, that may be the result of a poorly edited version that I saw. Nonetheless, to the movie's detriment, the suspense doesn't so much intensify or build to a climax as it simply bumps along from one narrative episode to the next.

With his patrician features, actor Muller makes a visually apt villain, even though he doesn't project enough needed evil. At the same time, actress Line as the dishy housekeeper Solange can come clean my house any day. Seems however she's really an elderly woman that maestro Stephen has made temporarily young, so maybe not.

Overall, the movie's a rather classy horror film, not as cheezy as most. Also, mark me down as a new member of the Barbara Steele fan club.