The Red Queen Kills Seven Times
aka La damma rossa uccide sette volte
Directed by Emilio Miraglia
Starring Barbara Bouchet, Ugo Pagliai, Marina Malfatti, Sybil
Danning
Phoenix Cinematografica/Romano Film/Traian Boeru/Cineriz
1972
A prophecy (portrayed in a family painting) dictates that
there is a curse on the Wildenbrücks: Every 100 years two sisters will grow to
hate each other. One (depicted as the Black Queen), will kill the other (known
as the Red Queen). The prophecy says that the Red Queen will then return,
killing seven times to avenge her death.
For the current generation of the family, the prophecy
seems to be working its spell as Kitty Wildenbrück accidentally kills sister
Eveline during a fight. Older sibling Franziska helps to cover the death up,
leading everyone to believe that Eveline has gone to the USA, but when
grandfather Tobias dies of a fear-induced heart attack and a series of murders
linked to Kitty occur, a police artist’s impression of the killer resembles
none other than Eveline…
That’s a pretty hefty premise to kick off this giallo with German-shot
exteriors. Director Miraglia was perhaps looking to capture the same lightning
in a bottle that had made his 1971 effort, The Night Evelyn Came Out Of The
Grave such a success, recasting Marina Malfatti from that particular
venture. However, this cracking little thriller more than holds its own against
its predecessor. Indeed, I might even suggest it’s a better, more rounded film.
Considering that, it’s a great shame that Miraglia never
directed another picture after this, but he rounded off his slim filmography with
a most enjoyable outing full of the required twists, turns and red herrings. If
not quite the peak of the giallo form, it’s certainly a superior entry in the
cycle which will more than satisfy the form’s disciples. Horror fans, meanwhile,
will find plenty to enjoy in the superbly mounted and executed stalk-and-slash
moments, and a water-drenched finale has more than a touch of Poe about it.
A fantastic score from Bruno Nicolai tops things off nicely.
Often overshadowed by his fellow countryman Ennio Morricone, his contribution
to Italian cinema should never be underestimated.
Interesting aside: The striking imagery of a killer clad in red
predates Don’t Look Now by a good year or so.
No comments:
Post a Comment