The Ghost / Lo spettro (1963)

‘Epic’ has sort of become a popular internet slang term these days and is generally used as a descriptive response for anything that comes off as grandly awesome. I normally prefer using it in the more traditional sense as a tag for a long story that spans multiple books or movies. So, even given its standard runtime, why is ‘epic’ the first adjective that comes to mind when thinking about Riccardo Freda’s generically titled Gothic horror/mystery THE GHOST?

In trying to come up with a possible answer, I find myself realizing just how well nearly everything about THE GHOST hits the spot. From the opening séance to the fulfilling ending, there ends up being a very attractive mental journey, dense with macabre elements, to a destination that could only be described as maniacal insanity, just before the film closes out with a religious representative reminding us that the devil is a very real person. I feel that it is this cadaverous journey, mostly within the confines of a richly decorated Scottish 1910 mansion as well as the grand supernatural, alien beauty of the film’s star, Barbara Steele, that merits the ‘epic’ tag.

Am I right when I say that Steele was an essential component in helping several Italian Gothics rise above being standard genre fare? Just like the chorus to a particular ‘80s Roxette song, she’s got the look. Here, Steele doesn’t portray her usual dual role of a good and an evil character but only the latter in this film, and it really is what she does best. She’s on fire in an immortal murder scene late in the movie that brings to mind the phrase ‘slashed to ribbons’. 

Murder Obsession (1981)

I sometimes wonder if evil is inherent in every one of us. Some say that evil does not exist at all, and what we call evil is merely the absence or lack of good. But what is it that compels one to want to do harm to another with a complete disregard for the viewpoint of the victim? Anger, jealously, or possibly just a primal instinct to inflict pain? The wicked and malevolent being that could potentially lurk deep down inside of us is brought to the forefront in MURDER OBSESSION.  

Riccardo Freda’s last directorial feature may be flawed, but it is one beautiful looking movie where familiar and highly significant genre actors such as BLACK SUNDAY’s John Richardson, BLACK EMANUELLE’s Laura Gemser, and giallo favorite Anita Strindberg (her last starring role) come together in a dark and mysterious series of murders, ceremonies, and somnambulant wanderings in a secluded villa. With its modern Gothic setting and indulgently directed sequences, MURDER OBSESSION feels like an exceptional finale from the man who brought the world the pioneering Italian horror effort I VAMPIRI and the unsurpassed and hypnotically psychedelic bloodbath in TRAGIC CEREMONY. The film effectively establishes the right mood by forcing a throwback to candlelight on account of the mansion’s electrical wiring malfunctioning, and along with the rich and vibrant colors as well as the lead character’s hairstyle and mustachio; the overall feeling is like a ‘60s Gothic in an ‘80s movie. Two of my favorite things… 

While playing the role of a killer during the filming of a movie, the lead character, Michael (Stefano Patrizi), is introduced as a movie star and a shady person when he takes the method-acting technique a little too far by nearly strangling his co-star, Beryl (Gemser). Although he might not be the most appealing or likable, the unease brought on by the character of Michael makes for an interesting lead that may or may not have a dormant impulse for murder. This creates one of surprisingly few red herrings in a murder mystery plot with pretty vicious death scenes where everyone dies except for the killer and one other final character, resulting in one of those fun horrific endings that is like Oh my god!  How could you!?  No….  Nooooooooooo!!!!  Roll end credits.