Leofwine_draca Yet another Gothic shocker, the ones that the Italians could make in their sleep by now. Once again events take place at a remote mansion, inhabited by sinister servants. Barbara Steele is on the receiving end of some nasty acts of violence before getting her revenge in the final reel. Sounds just like every other Italian Gothic film you've seen? You'd be right, and it's just as much fun.Once again the use of crisp black and white photography creates some stunning images with light and darkness battling for domination of the screen. Then again I watched this film in a widescreen, pristine print so I may just be biased. There's lots of creeping around in crypts and inexplicable noises in the distance, windows blowing open, etc. which help to give this film a nicely spooky atmosphere. This atmosphere is also increased by a beautiful, stately Gothic score by Ennio Morricone, one of the best composers of all time.The acting is good all round, only occasionally veering into ham. Barbara Steele once again gets to play a dual role, and also gets to dish out/be at the receiving end of some terrible torture. Indeed, the increased violence level here is what sets it apart from the other Gothic entries; while CASTLE OF BLOOD and contemporaries were happy to leave the violence implied and off screen, NIGHT OF THE DOOMED is happy to show some nasty torture in all its glory. One man has his face disfigured, another is burnt alive while tied to a chair, and there's a cruel hot poker moment in there too. The violence is only used occasionally, and there's nowhere near the amount that the blurb states, but it's shocking nonetheless. Steele also gets to wear some horrible makeup at the film's climax.Many people would complain that the pacing of this film is too slow, but I loved it. For the most part Steele thinks she is going insane, hearing noises in her head and dreaming of a murder. There's even an added sub-plot about a servant who seems to have come straight from COUNTESS Dracula and needs to have blood transfusions to keep her young. McDouglas is excellent as the stuffy, seemingly nice but cruelly evil husband, and even the dashing male lead is likable. The special effects are simple and effective; the only failure is a cheap-looking electrocution. Besides, when we have such classic moments as a man wiring up a bath to electrocute an enemy and an impaled heart being thrown in a fire, thereby dispelling the ghosts, it's easy to overlook these minor flaws. An excellent addition to your collection if you're a fan of Gothic cinema.

Johan Louwet Seems there is a short version and a longer version floating around. Not wanting to miss any important information I went for the longest version and that might have been a mistake as it really dragged after a great first 20 minutes. Once Muriel and her lover are killed of and half sister Jenny comes into play it becomes basically a movie with a long slow burning build-up to a good albeit unsurprising climax. However it's all pretty unspectacular, the grim and dark atmosphere of the start scenes cannot be repeated any more. Furthermore are the characters of both doctors rather dull as is Solange. I don't know what Stephen actually saw in her. And of course there is the obligatory attraction between doctor and patient. Even though the ending was way better than Castle of Blood I kept behind with too many questions, with such duration that is not very good. Black Sunday remains the best movie with Barbara Steele so far.

Lee Eisenberg Usually I like Barbara Steele's movies, but Mario Caiano's "Amanti d'oltretomba" ("Nightmare Castle" in English) is a little too slow-moving. Steele plays the wife of a scientist who looks like a cross between Christopher Plummer, Donald Sutherland and Benjamin Netanyahu. He kills her after discovering that she's having an affair, only to learn that she left her money to her sister. More shocks follow.The cinematography and setting create a very eerie feeling, and I can forgive the lousy dubbing, but the movie is just too slow-moving. This isn't a terrible movie, but I wish that it had gotten to the main story quicker than it did. Still, Barbara Steele looks great, as always.

Woodyanders Hot-blooded Muriel (ravishing Goth queen Barbara Steele in fine form) has an extramarital affair with studly gardener Jonathan (hunky Guiseppe Addobbati). When Muriel's sadistic and pitiless husband Dr. Stephen Arrowsmith (splendidly played to the snotty and sneering hilt by Paul Muller) finds out, he brutally tortures the adulterous duo prior to killing them. Stephen subsequently marries Muriel's innocent and emotionally fragile half sister Jenny (also portrayed by Steele), who soon starts being tormented by Muriel's vengeful and unrestful spirit. Ably directed with style and assurance by Mario Caiano, with a constant snappy pace, an absorbing script by Caiano and Fabio De Agostini, a flavorsome evocation of the past period setting, some startlingly bloody and ferocious moments of in-your-face nasty violence, handsome, agile black and white cinematography by Enzo Barboni, a potently gloomy and oppressive atmosphere of pure skin-crawling dread, a rich score by Ennio Morricone that alternates between supremely spooky'n'shuddery ooga-booga midnight chillshow stuff and more elegant orchestral music, and a rousing conclusion that makes inspired and effective use of ominous swirling mist, this fright film certainly does the pleasingly creepy trick. The witchily beautiful and alluring Steele excels in her juicy dual role. The lovely Helga Line also does well as Solange, a wizened old crone servant who has her youthful pulchritude restored by a serum Stephen made from Muriel's blood. Essential viewing for Barbara Steele fans.