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Il fantasma di Sodoma (1988)

 -  Horror
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Ratings: 3.8/10 from 432 users  
Reviews: 17 user | 15 critic

Six teenagers are terrorized in an isolated villa by ghosts of Nazis killed during World War II by an air raid while participating in an orgy.



(story), (screenplay), 1 more credit »
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Title: Il fantasma di Sodoma (1988)

Il fantasma di Sodoma (1988) on IMDb 3.8/10

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Credited cast:
Claudio Aliotti ...
Maria Concetta Salieri ...
Robert Egon ...
Willy the Nazi
Jessica Moore ...
Marie (as Luciana Ottaviani)
Teresa Razzaudi ...
Sebastian Harrison ...
Joseph Alan Johnson ...
Marc (as Alan Johnson)
Rest of cast listed alphabetically:


The spirits of Nazis who were killed by bombs while having an orgy return 50 years later to terrorize a group of six teens who stumble upon the house of their death site. Written by Humberto Amador

Plot Summary | Plot Synopsis

Plot Keywords:

nazi | orgy | teenager | ghost | trap | See more »




Not Rated | See all certifications »




Also Known As:

The Ghosts of Sodom  »

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Did You Know?


The German dialog heard in the background during the scene where Mark wanders through the halls is an excerpt from Richard Wagner's opera "Die Walküre". The two characters speaking are Siegmund and Brünnhilde in the 4th scene of the 2nd act. See more »


Featured in Nightmare Concert (A Cat in the Brain) (1990) See more »

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User Reviews

THE GHOSTS OF SODOM (Lucio Fulci, 1988) BOMB
14 June 2007 | by (Naxxar, Malta) – See all my reviews

This is another film which stands as the perfect showcase for director Fulci’s sad decline throughout his final years (actually, this is the third such example I’ve watched) and, by extension, that of the popular “Euro-Cult” style.

It opens in 1943 with a (hilarious) orgy at a secluded villa by a group of perverted Nazis, which one of them conveniently films – a sequence which is haphazardly intercut with genuine stock footage of the war. The scene then shifts to the present day with a group of teenagers who happen upon the villa and decide to spend the night there: one of the girls is seduced by the ghost of the amateur film-maker but wakes up to find that, apparently, it was only a dream! The gang departs in the morning but, mistakenly, take a roundabout route which invariably brings them back to the dilapidated villa; this time, they discover that they can’t leave the premises – the phone which was previously working is now dead, and the exits have all been mysteriously blocked! Soon, one of them is engaged in a game of Russian Roulette with the same ghostly Nazi, who even offers him a night with a prostitute if he comes out alive: amazingly, he does but the sexual encounter doesn’t quite go the way he planned! At this, he goes berserk and attacks one of his friends – but falls down a flight of steps and is killed. Later on, the prostitute herself appears to the most hysterical of the girls (who harbors a lesbian affection towards one of her companions) – the older woman shows her her friend making out with the third girl of the group but, when she goes to confront them, finds that it was ‘all in her mind’! Then, it’s the turn of the girl who first met the Nazi to become involved with one of the boys (for whom she had hitherto showed no interest) – but, as soon as he touches her, the girl’s skin starts to come off! Eventually, the gang discovers the reel of footage shot by the Nazis intact and they watch it in an attempt to solve the enigma in which they’ve become unwittingly entangled – this is followed by the Nazis suddenly appearing to break down the doors, an explosion…and, then, the whole gang wakes up from a deep slumber in front of the ruins of the villa in question! Doh!!

The film, then, is a mix of haunted-house horror (involving the typical obnoxious-vacationing-teenagers-getting-lost angle) and Nazisploitation (with the soft-porn elements that this entails) which can, perhaps, best be described as hypnotically bad. While Fulci might have done something with this plot in his heyday, here he’s defeated by a boring cast (though the girls, at least, look good in and out of clothes) and the utterly gratuitous gore mandated by the genre at this juncture (but which the evidently shoestring budget couldn’t hope to satisfy in a convincing manner!).

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