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La notte che Evelyn uscì dalla tomba (1971)

5.4
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Ratings: 5.4/10 from 1,011 users  
Reviews: 42 user | 55 critic

A wealthy pervert lures beautiful young women to his castle so he can have his way with them.

Director:

(as Emilio P. Miraglia)

Writers:

(story), (story), 3 more credits »
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Title: La notte che Evelyn uscì dalla tomba (1971)

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Edit

Cast

Cast overview:
Anthony Steffen ...
Lord Alan Cunningham
Marina Malfatti ...
Gladys Cunningham
Erika Blanc ...
Susie
Giacomo Rossi-Stuart ...
Dr. Richard Timberlane
Enzo Tarascio ...
George Harriman (as Rod Murdock)
Umberto Raho ...
Farley
Roberto Maldera ...
Albert
Joan C. Davis ...
Aunt Agatha
Ettore Bevilacqua ...
Il custode del cimitero
Maria Teresa Tofano ...
Polly
Brizio Montinaro
Paola Natale
Edit

Storyline

A wealthy English lord is suffering a mental breakdown following the death of his red-headed wife, Evelyn, whom he feared was cheating on him. He tours local bars and dives, scouring for lovely red-heads willing to come back to his decaying castle in the country, where he seduces them, then tortures and kills them. His friend the doctor talks him into marrying again to help heal his slowly-rotting mind, which he does--but are the doctor's orders really what he needs? Written by EllenRipley112

Plot Summary | Add Synopsis

Taglines:

The worms are waiting.

Genres:

Horror | Mystery

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

18 August 1971 (Italy)  »

Also Known As:

The Night She Arose from the Tomb  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

| (cut)

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

One gimmick used to sell the film was theaters serving "Bloodcorn". This was actually regular popcorn with red food dye on it. See more »

Goofs

When Alan is using a torch in the tomb, the motion of the light from the torch does not match the motion of the torch, indicating that the light was supplemented by an off-camera light. See more »

Connections

References Diabolique (1955) See more »

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User Reviews

 
A fabulous slice of Euro Gothic!
8 June 2006 | by (Beverley Hills, England) – See all my reviews

Emilio Miraglia's crossover between Gothic horror and Italy's finest cinematic export, the Giallo, really is a delightful film for the fan of cult horror. While the movie is certainly no masterpiece, the story moves well and the imagery on display and imagination on the part of the director that is shown throughout elevates a rather simple tale of insanity and murder into an amazing slice of cult cinema. The title alone is graphic and lurid enough on its own, and I'm pleased to say that the film itself carries on this style throughout, with some well worked and ingenious death scenes, as well as plenty of nudity and some truly beautiful cinematography. The story takes place in a castle just outside London, England. We are introduced to Lord Alan Cunningham and a hooker that he is taking home. After brutally torturing and eventually killing her, we discover that his mental trauma is due to the loss of his wife, Evelyn. His friend and doctor talks him into remarrying to ease his mental anguish, and that's a piece of advice that he takes upon meeting the ravishing Gladys...

Despite the fact that this film is very much a piece of schlock cinema, the director appears to have taken it very seriously, and the result is a film that puts a lot of emphasis on the plot and characters, and ultimately this means a stronger show as Miraglia takes time to draw his audience in, rather than just showing blood and nudity and leaving it at that. The acting performances aren't bad, and even though Spaghetti Western star Antonio De Teffè is a little hammy, he convinces in his role; while Marina Malfatti provides eye-catching eye candy. The murder sequences on display are typically gruesome and beyond the immediately obvious, as we watch a woman being ripped apart by foxes and a scene that sees a man burn in a pool containing sulphuric acid. Bruno Nicolai's rock score works very well and brilliantly accents every scene. The film all boils down to a satisfying ending, which despite seemingly coming out nowhere; works well and adequately describes many of the loose ends up until the conclusion. Overall, while this film isn't the best of its kind; it's certainly a very good one and I'm sure that fans of cult cinema won't be disappointed!


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