The year is 1885, and necrophiliac Dr. Hitchcock likes to drug his wife for sexual funeral games. One day he accidentally administers an overdose and kills her. He leaves his home shattered... See full summary »
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Conrado San Martín,
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The year is 1885, and necrophiliac Dr. Hitchcock likes to drug his wife for sexual funeral games. One day he accidentally administers an overdose and kills her. He leaves his home shattered. Several years later he remarries and returns. Discovering that his still beloved first wife is alive but insane and prematurely aged, he plans to use the blood of his new bride to rejuvenate and heal her. Written by
Dean Harris <firstname.lastname@example.org>
A pretty wild ride, this one, after a rather uncomfortable and disturbing start as the first coffin is interfered with. Robert Flemyng is effective as the horrible doctor but I bet he used to leave this one off his CV. Between the worrying start and the breakneck finale there is really not that much happening but we are sustained by the grisly nature of the goings on, majestic photography and, of course, the equally majestic, Barbara Steele. I read somewhere that it was reckoned this was Steele's greatest performance and, on reflection, I think that may be so. Certainly she has a lot to do and continually looks as worried as she is beautiful. Strangely, her two most impressive scenes are both shot through glass. There is a terrifying moment when she and we see a ghost in the garden, through her window and then towards the end the amazing shots of her in the coffin through the small glass window. Not a great story but this works from beginning to end, nevertheless.
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