IMDb > The Antichrist (1974)
L'anticristo
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The Antichrist (1974) More at IMDbPro »L'anticristo (original title)

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The Antichrist -- Ippolita played by Carla Gravina is a young woman who not only is paralyzed but has a severe mental disorder.

Overview

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5.5/10   929 votes »
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Release Date:
22 November 1974 (Italy) See more »
Genre:
Tagline:
What it says is what it means. See more »
Plot:
Ippolita is a paralyzed young woman with serious mental problems stemming from the death of her mother... See more » | Add synopsis »
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NewsDesk:
(6 articles)
Indie Spotlight
 (From DailyDead. 1 December 2013, 10:08 AM, PST)

Italian Horror Masters Team Up For Anthology Film The Book
 (From Dread Central. 26 November 2013, 7:30 AM, PST)

A Look Back At: The Antichrist
 (From Icons of Fright. 25 September 2013, 12:32 PM, PDT)

User Reviews:
Just honestly bad See more (39 total) »

Cast

  (in credits order)
Carla Gravina ... Ippolita Oderisi

Mel Ferrer ... Massimo Oderisi

Arthur Kennedy ... Bishop Ascanio Oderisi
George Coulouris ... Father Mittner

Alida Valli ... Irene
Mario Scaccia ... Faith Healer
Umberto Orsini ... Dr. Marcello Sinibaldi
Anita Strindberg ... Greta
Remo Girone ... Filippo Oderisi
Ernesto Colli ... Possessed Man
Bruno Tocci ... Possessed Man's Friend
Beatrice De Bono ... Woman healed by statue
Vittorio Fanfoni ... (credit only)
Luigi Antonio Guerra ... (credit only)
rest of cast listed alphabetically:
Dolores Calò ... Woman Begging by the Statue (uncredited)
Luciano Foti ... Oderisi Servant (uncredited)
Ulla Johannsen ... Blonde Party Guest (uncredited)
Lea Lander ... Mariangela (uncredited)
John Francis Lane ... Party Guest (uncredited)
Alba Maiolini ... Old Woman Praying by Statue (uncredited)
Giuseppe Marrocco ... Oderisi Servant (uncredited)
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Directed by
Alberto De Martino 
 
Writing credits
(in alphabetical order)
Gianfranco Clerici 
Alberto De Martino 
Vincenzo Mannino 

Produced by
Edmondo Amati .... producer
 
Original Music by
Ennio Morricone 
Bruno Nicolai 
 
Cinematography by
Joe D'Amato  (as Aristide Massaccesi)
 
Film Editing by
Vincenzo Tomassi 
 
Art Direction by
Uberto Bertacca 
 
Makeup Department
Euclide Santoli .... makeup artist
 
Production Management
Alfredo Nicolai .... production manager
 
Camera and Electrical Department
Adolfo Troiani .... camera operator
 
Other crew
Peter Fernandez .... voice director (English version)
 

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Additional Details

Also Known As:
"L'anticristo" - Italy (original title)
"Blasphemy" - USA (poster title)
"The Tempter" - USA (dubbed version)
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Runtime:
112 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Argentina:X (original rating) | Argentina:18 (re-rating) | Australia:R | Finland:(Banned) (1975) | Germany:16 | Iceland:16 | Norway:18 (1975) | Portugal:M/18 | Sweden:15 | UK:18 (uncut DVD version) | UK:18 (video rating) (cut) | USA:R
Filming Locations:

Did You Know?

Movie Connections:
References The Exorcist (1973)See more »

FAQ

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7 out of 10 people found the following review useful.
Just honestly bad, 13 November 2000
Author: Feldspar-3 (feldspar@cryogen.com) from Massachusetts

There are exactly two elements in this movie that work. The first is a well-done special effect of an imploding screen. The second is the choice to have the saliva of the possessed woman bear an unmistakable resemblance to... another substance. This becomes the only element of the sexual subtext that is genuinely unsettling, rather than just unpleasant and nasty.

Other than that, this is a poorly-made attempt to rip off "The Exorcist". And by "rip off", I don't mean just that this was a possession movie made to cash in on the popularity of "The Exorcist"; I mean that elements from the Blatty/Friedkin production are copied so shamelessly that it evokes disbelieving laughter at the effrontery.

Sadly, "The Tempter" fails to do what "The Exorcist" did, and give those elements a context that makes sense. The Blatty/Friedkin film remains compelling because it is a mystery; it is not about the shocking visual effects but rather of a truth that no one wants to believe. Every scene contains a clue to the mystery; every clue chips away at civilized denial that such a thing could happen. This movie could actually have gone "The Exorcist" one better, by constructing the same sort of mystery and treating the strong subtext of sexual temptation as a piece of the puzzle and not just a chance for cheap thrills. Instead, this movie is made with the vague notion that projectile vomiting at a priest is boffo box office, baby. "The Exorcist" is clockwork inside and "The Tempter" is just Jell-O.

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