HORROR CASTLE aka THE VIRGIN OF NUREMBURG (1963) is tonight’s cinematic delight. It features the ubiquitous Christopher Lee and the constantly-backlit-in-her-negligee Rossana Podesta (even when the only source of light is the candlestick she holds in front of herself – I’m not complaining, you understand – but it defies the laws of physics).
Chris Lee is menacing and ruthless and dubbed in English for some unfathomable reason.
Ms. Podesta is best known for her work in various sword and sandal epics, especially HELEN OF TROY in which she allegedly beat out Elizabeth Taylor for the titular role.
I’m expecting this epic will end in a purging European fire as most of these giallos do. These euro-trash classics seem to feature Prometheus as their go-to deux in virtually every machina.
Sho ’nuff. It all goes up in flames and Mr. Lee bites the dust as usual. However, Ms. Podesta survives, perfectly coiffed, and ready for the next dim staircase.
We think of Hammer Films and we think of Dracula and Frankenstein and strawberry-red blood dripping on otherwise pristine sets in sunglass-required lighting that comes from everywhere and nowhere in particular. But even as these money-making machines were being crafted, Shepperton Studios was cranking a bunch of other films just as interesting…if not as lucrative.
This is one of them. THE HANDS OF ORLAC (1960), directed by Edmond T. Gréville, is another retelling of the transplanted hands saga and not the best of that gruesome genre. That dubious award would go to Peter Lorre’s MAD LOVE (1935) in my book.
But THE HANDS OF ORLAC is a pretty entertaining flick. It is encumbered by a somnambulant performance by Mel Ferrer, but it features a nice turn by Christopher Lee as a blackmailing stage magician. Lee’s character shrieks a ridiculous wild laugh (always wisely off-camera) that sounds like a cross between Snidely Whiplash and the happily surreal cackle preceding the Ventures’ “Wipe Out,” (which, I understand was inspired by one of the Maddox Brothers). Whew, that last sentence should give everyone fun things to google.
Even better than Mr. Lee’s performance are the ladies in the flick. I thought I had never heard of Lucile Saint-Simon before, but I see that she’s also in a blade-filled Italian giallo from 1963; THE VIRGIN OF NUREMBERG (more tamely released in the US as HORROR CASTLE), directed by sanguinary maestro Antonio Margheriti and also featuring a murderous Christopher Lee. I remember being moderately engaged by the flick a few years ago, but I’m gonna have to watch it again now. Ms. Saint-Simon is sympathetic and rocks her negligee, though the backlighting in this effort is insufficient to satisfy my more demanding geezer cineastes. Dany Carrel, however, more than makes up for that technical deficiency. Her night club act with Chris Lee is eye-popping…literally. The white-haired guys in the audience are dropping their monocles and checking their pacemakers.
And in addition to those actors, a small appearance by the ubiquitous Donald Pleasence provides a coup de gross (sic and deliberate) for the evening.
The ending ties things up in a way-too-convenient way. You might call it a deux-et-manicure copout.