6.6/10
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62 user 61 critic

Spirits of the Dead (1968)

Histoires extraordinaires (original title)
Anthology film from three European directors based on stories by Edgar Allan Poe: a cruel princess haunted by a ghostly horse, a sadistic young man haunted by his double, and an alcoholic actor haunted by the Devil.

Writers:

Edgar Allan Poe (story "Metzengerstein") (as Edgar Allan Poë), Roger Vadim (adaptation) | 8 more credits »
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1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Brigitte Bardot ... Giuseppina (segment "William Wilson")
Alain Delon ... William Wilson (segment "William Wilson")
Jane Fonda ... Contessa Frederique de Metzengerstein (segment "Metzengerstein")
Terence Stamp ... Toby Dammit (segment "Toby Dammit")
James Robertson Justice ... Countess' Advisor (segment "Metzengerstein")
Salvo Randone ... Priest (segment "Toby Dammit")
Françoise Prévost ... Friend of Countess (segment "Metzengerstein") (as Francoise Prevost)
Peter Fonda ... Baron Wilhelm Berlifitzing (segment "Metzengerstein")
Marlène Alexandre Marlène Alexandre ... (segment "Metzengerstein")
David Bresson David Bresson
Katia Christine ... Young girl on the dissection table (segment "William Wilson") (as Katia Christina)
Peter Dane Peter Dane
Georges Douking ... Le licier (segment "Metzengerstein")
Philippe Lemaire ... Philippe (segment "Metzengerstein")
Carla Marlier ... Claude (segment "Metzengerstein")
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Storyline

Three directors each adapt a Poe short story to the screen: "Toby Dammit" features a disheveled, drugged and drunk English movie star who nods acceptance in the Italian press and his producers fawn over him. "Metzengerstein" features a medieval countess who has a love-hate relationship with a black stallion - who, it turns out, is really her dead lover. "William Wilson" tells the story of a sadistic Austrian student with an exact double whom he later kills. Written by alfiehitchie

Plot Summary | Add Synopsis

Taglines:

the ultimate orgy of evil See more »

Genres:

Drama | Horror | Mystery

Certificate:

R | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

France | Italy

Language:

French | Italian | English

Release Date:

23 July 1969 (USA) See more »

Also Known As:

Spirits of the Dead See more »

Filming Locations:

Bergamo, Lombardia, Italy See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Westrex Electric)

Color:

Color | Color (Eastmancolor)

Aspect Ratio:

1.75 : 1
See full technical specs »
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Did You Know?

Trivia

The film was originally to have been directed by Orson Welles, Luis Buñuel and Federico Fellini. See more »

Goofs

During the final card game between Wilson (Alain Delon) and Giuseppina (Brigitte Bardot), Wilson deals himself two cards in a row during the final hand. He should have dealt Giuseppina a fifth card first before taking his. See more »

Quotes

Maurizio Manetti - director (segment "Toby Dammit"): As long as it reflects the death throes and decay of our capitalists system - a Western can claim to be militant. That's what Lukcas says. We'll create historical characters sociologically contextualized. Thus, our two outlaws represent irresponsibility and anarchy. The busty girl is the illusory escape into the irrational. The prairie is beyond history and the bisons are man's struggle for subsistence.
See more »

Connections

References Kill, Baby... Kill! (1966) See more »

Soundtracks

Ruby
Sung by Ray Charles
Lyrics by Mitchell Parish
Music by Heinz Roemheld
See more »

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User Reviews

Poe. as pretext
5 May 2017 | by KirpianuscusSee all my reviews

it is strange to see a film ignoring its artistic virtues. because it is only a puzzle of directors and texts and actors and memories. a sort of experiment. seductive. and full of nostalgia. eccentric. and bizarre. stars, Romanticism, the shadow of Edgar Allen Poe and the mark of directors. it is strange to say what part is most remarkable. because, after the final credits , remains only the drawings in dust. and pieces of old velvet. a good kick to read Poe. again. because, maybe at the first sigh only, the film seems use his work only as pretext. but, like each part of film, it could be an impression.


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