The Torture Chamber of Dr. Sadism

My memories of seeing "The Torture Chamber of Dr. Sadism" as it was called on US local television in the mid Seventies date back a quarter of a century. I well remember the first time I saw the movie. I wasn't expecting anything at all special, certainly nothing as gripping and fascinating as this. The movie has a real feeling of something you would read about in a crumbling old manuscript in a deserted, dusty library. Lee is terrific as always and has a tremendous presence, even though he is only on screen for brief periods. Lex Barker is surprisingly effective as the hero, and Karin Dor is beautiful and elegant as always, as the heroine. The sets really steal the movie, though--inspired by the weird paintings of Hieronymous Bosch, they give a sense of ancient evil, laced with a perverted sort of fanciful whimsy, to the scenes in the castle.

Next to "The Whip and the Body", this has got to be Lee's weirdest movie.

Lee plays Count Regula which is a very fitting name since he "regularly" frequents the local village & steals away young girls to his castle. He tortures them & uses their blood for his "life elixir". His final victim manages to escape to inform the local authorities and he is executed for his crimes (check out how its done). He manages to come back years later to exact his revenge on the descendants of his last victim & the judge/magistrate that sentenced him to death.

Among the actors you've got to check out is the guy who portrays the Count's butler/servant. He's really wild. In some scenes, he actually steals the scenes from Lee!This guy takes the phrase "loyal servant" to a whole new level! If the average household of today had a madman like him in service, we'd all be in trouble!

Lex Barker is the Count's adversary/good guy here. Sometimes Lex acts as if he's sleep-walking through his scenes. His voice also never seems to change its tone. The other performers are good.

The locales are incredible. I believe this film was shot in Germany.Very beautiful & peaceful but don't be alarmed horror fans. You will love the scenery around the Count's castle. Can you picture a countryside littered with dead bodies everywhere? You will once you've seen this movie.

For those of you that love a little ham in your horror, this one's for you! Its very hard to find in mainstream video stores so you may want to check the ones that cater to specialized genres. It will be worth the search.

The Castle of the Walking Dead is the first film that I have seen directed by Harold Reinl, the filmmaker who helmed numerous 'krimi' (German-made horror-thrillers based on the works of Edgar Wallace, precursors of the Italian 'giallo'), several entries in the 'Dr. Mabuse' series, and most of the 'Karl May' westerns. If this movie is any indication, Reinl is a major talent ripe for rediscovery by fans looking for a cinema that revels in flamboyant visual pyrotechnics, rather than in quotidian literacy and a politically correct 'sensibility'. Reinl may not be Mario Bava, but his extravagantly baroque camera style is nonetheless extremely impressive. The Castle of the Walking Dead is relentlessly designed; each shot has been carefully thought out and executed to its fullest illustrative potential. Set decoration, lighting, and camera movement are all carefully integrated; there is almost no shot that is arbitrary, accidental, or unnecessary. Reinl is an obvious practitioner of the great expressionist tradition in cinema, in which the significance of each shot is determined by the director's architectural and illuminative insight, in opposition to current film dogma, in which the subordinate elements of the shot (the acting, the script) dictates its formal structure. Significantly, only Christopher Lee, a performer who, like Lugosi, his predecessor, understands the physically revelatory importance of the actor to the overall impact of a film, is able to rise to the director's challenge. The Castle of the Walking Dead is ultimately derivative, badly acted, and pointless, but, for fans of cinema, can be a joy to behold. I should note that the DVD that I watched was faded and crappy; one can only hope that in the future the rest of Reinl's output will be rediscovered and restored with the loving care that it deserves. I can't wait.

We see Christopher Lee as Count Frederic Regula, who used the blood of 12 virgins for his experiments. He is drawn and quartered but not before swearing vengeance on the descendants of the Judge and the woman who escaped and turned him in.

Now, we come some years later, Roger Mont Elise (Lex Barker) has come to claim his inheritance. He is joined on his journey by a somewhat randy priest, Father Fabian (Vladimir Medar), and a young woman, the the beautiful Baroness Lilian von Brabant (Karin Dor) and her servant Babette (Christiane Rücker). They were travelling in a separate coach that was beset upon by robbers, who took their horses.

The setting near the castle is surreal, with body parts seemingly growing out of the trees.

Carl Lange as the Count's servant was particularly good. Lee, himself, was particularly evil in his appearance. Karin Dor did this film the same year as she was a Bond girl in You Only Live Twice. The art direction was excellent in the castle, with many strange paintings, and the cinematography was superb. The buzzards in the castle were a nice touch, as were the scorpions and spiders and snakes. Roger's escape from the pit with the pendulum can only be described as miraculous.

It is fortuitous that this film has at last reached the light of day again, (via DVD) since it provides a welcome reminder of the type of Saturday matinée "scary" fare 1960s parents could safely drop the youngsters off to see--in some ways similar to 1962's "The Magic Sword."

Boasting a very "Siegfried" style hero in Lex Barker, a particularly comely brunette heroine, and Christopher Lee at his most cadaverously malevolent, horror fans should not be disappointed in the regulation personalities. Nor will they be disappointed in the abundance of Gothic contrivances: snakes, skulls, potions, glass coffins, razor pendulums etc. etc. And to those with questions about the logic of the narrative, don't bother with them--the rapid fire pacing won't wait for you to find an answer anyway--if nothing else this film does move!

Ultimately, however, it is in the visuals that this film most impresses. Production design and color are of a very high order indeed, ranking very favorably against Jack Asher and Mario Bava, and it is impossible to believe that the previous work of these two gentlemen is not deliberately evoked here.

Much could be observed in this connection, but suffice it to say that rarely has a nocturnal forest been presented more balefully, with gnarled trees juxtaposed against an ultramarine sky.

Even more in its favor is the effective use of a medieval Bavarian town, whose quaint architecture seems right out of E.T.A. Hoffmann. Here is an example of location shooting that counts for something! Overall, although the credits credit Edgar Allan Poe as the basis of the story, the piece feels altogether more like a "penny-dreadful" hybrid pastiche of the aforementioned Hoffmann and Ludwig Tieck.

Highly recommended for admirers of the genre.