The journalist Alan Foster makes a bet than he can spend one night at the haunted Blackwood Castle. As he learns, the rumors of ghosts at the castle are indeed true. On All Soul's Eve the ...
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A writer accepts a bet that he cannot spend the night alone in a haunted castle on All Soul's Eve. Once night falls at the castle, several who had been murdered therein return to life, ... See full summary »
A young woman is invited by her girlfriend, who lives in an English country mansion, to stay there with her. The estate, however, isn't quite what it seems--and neither is the friend who issued the invitation.
José Ramón Larraz
The journalist Alan Foster makes a bet than he can spend one night at the haunted Blackwood Castle. As he learns, the rumors of ghosts at the castle are indeed true. On All Soul's Eve the ghosts of the castle search for blood to tide them over for another year. In the castle Foster meet and fall in love with Elizabeth Blackwood. Written by
In comparing this 1971 remake with its 1964 original, one immediately misses the presence of Barbara Steele, although in both titles the 'heroine' only makes her first appearance at the half hour mark. Director Antonio Margheriti must have felt the absence of color in "Castle of Blood," and really adds little else to this new version, with Michele Mercier's Elisabeth fleshed out to some degree, as we see more of her absent husband, barely seen in the original. All the plot elements are virtually identical, right down to the lesbian love scene, resulting in three corpses lying on the floor in roughly two minutes of lustful activity. It was definitely daring in 1964, but here is treated in such timid, predictable fashion that it loses all the bite of the original. The guest filled ball is the one sequence that adds more running time here, 106 minutes over 1964's 89, Elisabeth juggling multiple affairs while her husband is away in America, and both male and female lovers equally jealous to the point of murder. The main weakness in both versions remains the same, a skeptical journalist who doesn't engender audience empathy with his failure to discover what the audience already knows. I would recommend the black and white version with Barbara Steele over the color one, both of which aired twice on Pittsburgh's Chiller Theater, between 1976-1982.
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