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Autopsia de un fantasma (1968)

4.7
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Ratings: 4.7/10 from 62 users  
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Satan offers a weary ghost a chance for redemption through true love.

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(story), (story), 2 more credits »
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Title: Autopsia de un fantasma (1968)

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Cast

Cast overview, first billed only:
...
Canuto Pérez
...
Amadee Chabot ...
Galena Pulido
...
Prof. Moléculo Pulido
Pompín Iglesias ...
Pompín
Nacho Contla ...
Nacho
Manuel Palacios ...
Manolín (as Manolin)
Estanislao Schillinsky ...
Taxista (as Schilinsky)
Carlos Piñar ...
Jaime Blondo, agente 07 1 / 2
Susana Cabrera ...
Susana
Famie Kaufman ...
Vitola (as Vitola)
Javier López ...
Chabelo (as Chabelo)
Pancho Córdova ...
Pinedo (as Pancho Cordoba)
Delia Magaña ...
Mendiga
Mario García 'Harapos' ...
Agente Cero (as Harapos)
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Storyline

Satan offers a weary ghost a chance for redemption through true love.

Plot Summary | Add Synopsis

Genres:

Comedy | Horror | Sci-Fi

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Details

Country:

Language:

Release Date:

7 November 1968 (Mexico)  »

Also Known As:

Autopsy of a Ghost  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Rodríguez-Klangfilm)

Color:

(Eastmancolor)
See  »
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Did You Know?

Trivia

The last film project of Basil Rathbone, first issued more than one year after his death. See more »

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User Reviews

 
Sadly, Basil Rathbone's final film
25 December 2012 | by (Youngstown,Ohio) – See all my reviews

"Autopsia de un Fantasma" (in English, Autopsy of a Ghost), though completed by April 1967, was not released until November 1968, over a year after the death of its top billed star, Basil Rathbone, who journeyed to Mexico City to join fellow genre favorites John Carradine and Cameron Mitchell in this Spanish-language non classic. All three seem to be hugely enjoying themselves, but the incredibly bizarre lineup of crazy characters quickly grows tiresome. Author Tom Weaver cast his vote for 'Worst John Carradine Film' for this film, and there is certainly much to justify that, as his role as Satan requires him to wear horns, a bearded goatee, and spiked tail, manipulating the events and generally behaving no differently than any of the other morons. Even worse, once everything is established after the first half hour, he begins to recede into the background, the observer rather than the observed, popping up briefly throughout the remainder of the 106 minute fiasco. Rathbone is cast as Canuto Perez, the forlorn ghost, who had committed suicide 400 years before, only now receiving a chance to redeem himself by getting a living woman to fall in love with him, and willingly give up her life on his behalf (Satan actually allows him four chances, for each time he stabbed himself!). Who could have thought that this script would make for a pelicula that anyone wanted to see? (calls to question the filmmakers' sanity). Director Ismael Rodriguez at least was known to American audiences for a pair of 1956 releases, "Daniel Boone, Trail Blazer" (Bruce Bennett, Lon Chaney) and "The Beast of Hollow Mountain" (Guy Madison). Cameron Mitchell's guest star role as Moleculo, El Inventor Loco, while fairly sizable, simply doesn't allow him much to do, just making endless proclamations about his creations (in Spanish dialogue only). My print is a recently subtitled one, so even after watching all three imported actors performing without using their voices, it's hard to tell if they're speaking their lines in phonetic Spanish, or simply in English. Carradine returned to Mexico to do a quartet of horror titles for producer Luis Enrique Vergara, who duplicated the deal a year later with Boris Karloff, but none of the Carradines used his voice, or were ever dubbed into English (only recently did "Pacto Diabolico" finally earn English subtitles). Rathbone and Carradine went back quite a few years together, from 1939's "The Hound of the Baskervilles," "Casanova's Big Night" (1954), "The Court Jester" (1955), "The Black Sleep" (1956), and John Ford's "The Last Hurrah" (1958). By 1967, there was only "Hillbillys in a Haunted House" and this final film, the death of poor Basil, working at Mexico City's high altitude (the reason why Boris Karloff's doctor required his scenes to be shot in Hollywood rather than Mexico).


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