La notte che Evelyn uscì dalla tomba (1971)

User Rating:

5.1/10   

Director:

Emilio Miraglia

Writers:

Fabio Pittorru (story) &
Massimo Felisatti (story) ...

Release Date:

18 August 1971 (Italy)

Genre:

Drama | Horror | Thriller

Tagline:

The worms are waiting.

Plot:

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

Plot Keywords:

Castle | Pervert | Nudity | Bondage | Sadist

Cast

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
Maria Teresa Tofano	...	Polly
Brizio Montinaro
Paola Natale

Also Known As:

The Night Evelyn Came Out of the Grave
The Night She Arose from the Tomb
The Night That Evelyn Left the Tomb

Runtime:

103 min | Italy:88 min (cut version)

Country:

Italy

Language:

Italian

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1

Sound Mix:

Mono

Certification:

Australia:R | USA:R

Company:

Phoenix Cinematografica

Goofs:

Revealing mistakes: The story is set in England, and the cars keep to the left-hand side of the road, but they are all left-hand drive cars.

Movie Connections:

Featured in Dusk to Dawn Drive-In Trash-o-Rama Show Vol. 3 (1996) (V)

She's Waiting.

Emilio Miraglia's "The Night Evelyn came out of her Grave" is an entertaining slice of perversely manipulative and seedy Gothic Euro-horror. The way the format works out (Gothic crossed Giallo) is a delicious web of eerie uncertainty and devilish twists, where is it the cracking mind of the protagonist or maybe the supernatural has something to do with the mysterious occurrences and demented happenings. Where never quite sure how it will pan out, despite its strictly routine and what you think a simple set-up. It does create many effective and spontaneous passages, like a layer upon layer structure, which compellingly builds up to its show-stopping, and unforeseeable conclusion. Which eventually goes out of its way to shock. Miraglia sharply paints a sombre atmospheric setting that at times embraces a dreamy elegance and for the darker, glum moments it's covered with moody shades due to its shadowy lighting. There's plenty of rough, jolting blocks of viciously nasty violence, sensual nudity and sordid fetishes. Bruno Nicolai's peering camera-work is smoothly orchestrated and Gastone Di Giovanni's wicked, bustling music score fits every scene. The pacing can get rather stumpy and editing can lumber with little rhythm, but it has a certain glow and the strangeness of the idea seems to hold you. The performances fair up decently, with a voluptuous Erika Blanc looking rather stunning and nailing down her part. Antonio De Teffè's nervous wreck portrayal is finely tuned in a neurotic sense and Marina Malfatti is there to shower us with her gratuitous looks. Rod Murdock colourfully hams it up, with winning results and Giacomo Rossi-Stuart is suitably adequate as the stable-headed doctor. There are able performances from Joan C Davis and Roberto Maldera too. The story can get patchy with few plot-holes, but it has a sedately arresting, stylised appeal.