NIGHTMARE CASTLE/AMANTI D' OLTRETOMBA directed by Allan Grunewald [Mario Caiano]
Severin DVD: available May 19 2009.
Scotland, the 19th Century: the ambitious, sadistic Dr. Arrowsmith (Paul Muller) spends his days and nights experimenting on the local frog population in an attempt to perfect a revivifying fluid. His frustrated, sarcastic wife (Barbara Steele) responds by carrying on a torrid affair with the hulking gardener (Rik Battaglia) until discovered by the mad scientist, who chains them in a dungeon, subjecting them to beatings, whippings, starvation, acid burnings and various types of abuse before electrocuting them to death while in a humiliating embrace. It is then pointed out by Arrowsmith's disfigured servant (Helga Line) that the estate of the murdered wife will go to her sister (also played by Steele in a blonde wig), who is incarcerated in a mental asylum. A plot is concoted wherein Arrowsmith will bring the sister to his villa, setting her up for either further incarceration or murder, after which he will inherit his wife's fortune. However, the diabolical plot is undone by the ghosts of the murdered wife and gardener which have been lurking in the shadows plotting revenge.
AMANTI D'OLTRETOMBA {onscreen title} is not the best but one of the last Italian-made gothics of the so-called "Italain Golden Age" [of horror]. Termed one of the last b&w commercial features by director Caiano in an informative 15 m chat BLACK, WHITE AND RED, it was certainly one of the last b&w horror films of that period. At the same time Riccardo Freda and Mario Bava were working in blushing shades of emerald and crimson in such features as THE GHOST (1963) and OPERAZIONE PAURA (1966). Caiano's film resembles Margheriti's DANSE MACABRE (1964) in style, also with Steele, while the double woman [evil slut-innocent victim] played by Steele goes back to Bava's seminal BLACK SUNDAY (1960). The story line owes much to Freda's superior LO SPETTRO while Caiano mentions his own influences were Poe as well as LADY CHATTERLEY'S LOVER by D. H. Lawrence, particularly the forbidden sex between the noblewoman and the earthy gardener. It's a tremendously well shot film, by future Spaghetti Western director Enzo Barboni, while Ennio Morricone's gothic organ score, recorded in a medieval Cathedral according to the director, also gives the proceedings a needed boost. Steele really lets it rip in her double role and the always excellent Paul Muller is perfectly cast as the smiling sadist. The small supporting cast, including Spanish horror queen Helga Line [HORROR RISES FROM THE TOMB; THE LORELEY'S GRASP], lend solid support to the rather depopulated mise en scene. The film plays as a suprebly crafted chamber piece. My only complaint is that I find it rather talky and at least 15m too long. I can well understand why it was often cut down to 80m at the time of its original release. In any case, the final reel, involving the ghost's elaborate revenge is briskly staged in full Grand Guignol style, and is worth waitng out the more protracted interludes.
This title has never looked or sounded better in Severin's restored, uncut (104m), widescreen 1.66:1/16:9 presentation, filled with shadowy, high contrast imagery (created with a single high watt bulb according to Caiano), while many previously obscured atmospheric details are finally revealed. Caiano originally wanted to shoot the gore scenes in red, but the b&w&red combo proved too costly. As a director of mostly mediocre Spaghetti Westerns (BULLETS DON'T ARGUE), who graduated to Italian TV work in the 70s, he leaves the impression of a skilled, unpretentious craftsman and this is probably the best example of his work. The work of the DP and director becomes even more impressive when it is revealed that this very good looking film was lensed in just 18 days of frenetic location shooting!
The English language Mono track is crisp, clean and free of the distracting, added sound effects of previous presentations. An Italian language track would have been a welcome addition. The significant element in this English track, though, is Steele's actual voice, which was used to dub her character.
Maybe best of all is the David Gregory directed documentary BARBARA STEELE-IN CONVERSATION, basically a 30 m career-spanning narrative vivaciously delivered by the magnificently gracious Ms. Steele, who is still passionate, individualistic, perceptive, self deprecating and frank about the many ups and downs she experienced during five decades as a working actor. Her real self proves as fascinating and hypnotic as her best roles, leaving one with the impression she would have made a good film director {she also worked as a producer on Dan Curtis' THE WINDS OF WAR}. Her comments on working with Elvis, Mario Bava, Freda, Margheriti, Caiano, Corman, Curtis and others are incisive and sometimes surprising. I could listen to her go on for hours. Director Gregory is wise enough to get out of the way and let the lengendary tigress tell her own story in her own words in her own way, which she does. The featurette is illustrated with plenty of well-chosen archival material. This extra is alone worth the price of the DVD.
The original US and UK theatrical trailers are included.
For someone like myself, who has manged to collect at least half a dozen [unsatisfactory] versions of this film on tape and DVD over the years, this will certainly become the definitive presentation of this cult favorite.
Severin's NIGHTMARE CASTLE is the best DVD released so far this year which I have seen and will certainly rate very high on my Best of 2009 list. For fans of classic Eurohorror and Barbara Steele it's a must-have.
(C) Robert Monell, 2009
