The Night Evelyn Came Out of the Grave (1971)

Even with the gory movie poster and the seductively macabre title, movie theaters thought this film could use a little extra hype during its premiere, by serving red popcorn, otherwise known as bloodcorn. Moviegoers were then probably expecting a gratuitously bloody show of a female zombie getting vengeance with some of the craziest and most terrifying scenes of which the world had never seen before on the big screen. What they got instead was a slow burning mystery and a lot of time spent with a mentally ill mind. Oh how they must’ve been disappointed….   

Similar to Emilio Miraglia’s own THE RED QUEEN KILLS 7 TIMES, THE NIGHT EVELYN CAME OUT OF THE GRAVE establishes itself as a giallo just as much as it does a modern Gothic horror piece. It contains all of the conventional trappings of Gothic horror, such as the creepy mansion, supernatural themes, a séance, and a promise that something will rise from the grave, a promise that the movie admirably keeps. But, it also has a fair share of that addictive ‘70s modern look; with the European nightclubs, swinging parties, sexy divas, and a brutal faceless killer, giving it an undeniable giallo feel. Fans of both genres that haven’t checked this out yet, really should, and anyone that has already seen it, should take the coming analysis as an attempt to make you want to watch this again.   

Experiencing grief for the loss of his deceased wife, Evelyn, formerly institutionalized nobleman, Lord Alan Cunningham (Anthony Steffen), finds solace by frequenting the London night scene, in search of something or someone new. However, there is an added facet to his inner-torment and that is the reoccurring and haunting memories of when his once precious Evelyn was disloyal to him. 

The Red Queen Kills Seven Times (1972), AKA Blood Feast

After a long hard day, a brief trip to a different time period in a faraway place is usually what it takes to provide the right amount of escapism I crave in order to feel restored and at peace again. I’m sure that you sometimes feel the same way, and I think you’ll find Emilio Miraglia’s “THE RED QUEEN KILLS SEVEN TIMES” to be a source of much needed respite. The cinematography in the film ably makes use of exotic locations in a 1970s time period that, in a way, provides a pleasant getaway for you to enjoy from the comfort and safety of your couch. So if you’re feeling a bit burned out and in need of a vacation, come with me to a castle and town in Europe, where you can relax to the seductive visuals of a different time and place and enjoy the company of lovely Euro-beauties (like Barbara Bouchet and Marina Malfatti) as well as a ghostly killer just to make things more interesting and to your liking. 

At the beginning, the film instantly draws the viewer in with a very exotic and almost tourist-like European setting, where Kitty and Evelyn Wildenbrűk, 2 sisters of about 9 years of age, are enjoying playtime in a very luxurious courtyard with a marvelous castle looming in the background. The peace and serenity the ambiance this location provides is disrupted as Evelyn snatches Kitty’s precious doll from her and dashes through the castle grounds causing Kitty to chase after Evelyn, with great concern for the safety and integrity of her doll. The chase ultimately leads into the castle where Grandfather Tobias Wildenbrűk (played by Rudolf Schűndler, the witch expert from SUSPIRIA!) is disrupted from his morning paper because of all the bratty shouting. Just then, Evelyn becomes possessed from a gory painting nearby and starts chanting “I’m the red queen, and Kitty’s the black queen” and then completely loses it, grabs a knife and begins to viciously stab Kitty’s doll repeatedly before ripping its head off in a fit of maniacal laughter (an impressive and amusing performance from the child actor).