| Florinda Bolkan | ... | Sister Cristina | |
| Ray Lovelock | ... | Aldo | |
| Flavio Andreini | ... | Walter | |
| Sherry Buchanan | ... | Elisa | |
| Stefano Cedrati | ... | Nino | |
| Laura Tanziani | ... | Lucia | |
| Laura Trotter | ... | Claudia | |
| Karina Verlier | (as Karine Velier) | ||
| Luisa Maneri | ... | Matilde (as Annalisa Pesce) | |
| rest of cast listed alphabetically: | |||
| Giuseppe Marrocco | ... | Man in the Bank (uncredited) | |
| Isabel Pisano | ... | Maid (uncredited) | |
| Luciano Zanussi | ... | Man in the Bank (uncredited) | |
Directed by | |||
| Franco Prosperi | |||
Writing credits | ||
| Ettore Sanzò | (story) | |
| Romano Migliorini | (screenplay) & | |
| Gianbattista Mussetto | (screenplay) | |
Produced by | |||
| Pino Buricchi | .... | producer | |
Original Music by | |||
| Roberto Pregadio | |||
Cinematography by | |||
| Cristiano Pogany | |||
Film Editing by | |||
| Francesco Malvestito | |||
Production Design by | |||
| Dario Micheli | |||
Costume Design by | |||
| Dario Micheli | |||
Makeup Department | |||
| Maria Teresa Corridoni | .... | hair stylist | |
| Corrado Cristofori | .... | hair stylist | |
| Claudia Giustini | .... | makeup artist | |
| Lamberto Marini | .... | makeup artist | |
Production Management | |||
| Paolo Bistolfi | .... | production supervisor | |
| Francesco Giorgi | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Francesca Roberti | .... | assistant director | |
| Flavia Sante Vanin | .... | assistant director (as Flavia Vanin) | |
Art Department | |||
| Augusto La Valle | .... | props | |
| Silvio Schettino | .... | assistant production designer | |
Sound Department | |||
| Benito Alchimede | .... | sound | |
| Luciano Anzellotti | .... | sound effects | |
| Massimo Anzellotti | .... | sound effects editor | |
Camera and Electrical Department | |||
| Walter Civirani | .... | still photographer | |
| Nunzio Colucci | .... | chief electrician | |
| Renato Doria | .... | camera operator | |
| Giancarlo Mentil | .... | assistant camera | |
| Orlando Zuccheri | .... | key grip | |
Costume and Wardrobe Department | |||
| Clara Fratarcangeli | .... | seamstress | |
| Carmela Rimini | .... | seamstress (as Maria Carmela Rimini) | |
Editorial Department | |||
| Alberto Vari | .... | second assistant editor | |
| Andrea Vari | .... | first assistant editor | |
Music Department | |||
| Edda Dell'Orso | .... | backing vocals | |
Other crew | |||
| Romano Cannavacciuolo | .... | administrator | |
| Romano Cannavacciuolo | .... | cashier | |
| Giovanna Lai | .... | script supervisor | |
| Carmelo Occhipinti | .... | production secretary | |
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| Carrie | Pensione paura | Freeway | Chained Heat | Coffy |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb Italy section |
As successful as Wes Craven's "Last House on the Left" was, it was such an unpleasant and notorious film that it didn't spawn too many imitators in American. Italy, however, was a whole different story, There "Last House" and its home-grown, pseudo-sequel "Late Night Trains" spawned an entire subgenre (albeit a pretty small one) known as the "terror film". These films usually fell into two categories. Some are flat-out sexploitation films like "Terror Express" and "Escape from a Woman's Prison" that are pretty hard to take seriously, where others, like "Late Night Trains", are pretty disturbing but are also usually much more stylized and less graphic than the infamous American film (the one exception to all this was Ruggiero Deodato's "House by the Edge of the Park" which might even be MORE harrowing than the Craven film).
This movie falls more into the latter category. It is a more-or-less serious film about three fugitive bank robbers who rape, murder, and generally terrorize a nun and a gaggle of Catholic schoolgirls at an isolated cottage by the beach. The violence is pretty nasty, but not especially graphic. There are three rapes, including a fatal one involving a walking stick, but they are highly stylized and/or take place mostly off camera. There is a general lack of character development,however, so that even the strongest actors like Florinda Bolkan and Ray Lovelock are not as effective as they could have been (having seen "Flavia the Heretic" and "Let Sleeping Corpses Lie" I would have expected more from a face-off between nun-heroine Bolkan and bank robber/villain Lovelock). The girls are all nubile but not particularly young or innocent looking (Sherry Buchanon, for instance, had been playing abused schoolgirls since "What Have They Done to Your Daughters?" in 1974). This is somewhat appropriate, however, since the movie seems unsure at times whether it wants to pity them or sexually exploit them.
The ending is interesting although I'm not quite sure what to make of it. Neither the best nor the worst of its kind.