kai ringler as my subject line says,, the movie started of painstakingly slow, for the 1st hour,, then all of a sudden the last 30-35 mins, there was so much to take in and stuff was happening at break neck pace . never heard of Barbara Steele before, wow she's so sexy, and amazing her eyes are haunting to say the least. I can imagine any man doing exactly whatever she wanted him to do and be happ about it. Our poor Dr. Hitchcock plays a handicap bound to a wheel chair, his wife decides that she wants him gone and dead fast. so she get's the help of the family lawyer,, and they proceed to try and kill Dr. Hitchcock,, but did they really kill him.. appears so.. but watch and find out,, there are a lot of things I really liked about this one,, I just wish it wouldn't have taken forever for the movie to get a jumpstart,, but once it did I was very happy.. not a bad little movie at all, and enjoyed Barbara Steele immensely. .

morrison-dylan-fan Having struggled for a number of months to find a good DVD edition for Riccardo Freda's first Gothic Horror collaboration with Barbara Steele, (The Terror of Dr.Hichcock) I was relived to discover on Amazon that Alpha Video had brought out their second,and final movie:The Ghost out on a DVD that was being sold at a super-cheap price.Sadly,about 5 minutes after the Alpha DVD had arrived in the post,I realised that the reason the DVD was being sold at such a cheap price,was possibly connected to the picture quality looking like it had been chucked into a potato masher.Pulling my self backup from Alpha's disappointment,I decided to go on an extensive search in the hope of finding Freda's Technicolour glowing ghost. The plot:Scotland-1910: Suffering from a crippling illness,Dr.John Hichcock relies on the good will of his wife Margaret and the advance medical protocol performed on him by Dr. Charles Livingston,who along with giving John tiny doses of poison,in order for it to loosen up his bones and muscles,also takes part in the séances that John holds with Margaret and their house keeper Catherine Wood.Unbeknowst to John,Margaret and Charles have become passionate lovers,who are sick of the very sight of him.Taking part in a rather dangerous séance,Margaret convinces Charles that now is the perfect time to give John a little bit too much poison.Making sure to cover their tracks,the couple prepare for the hearing of the will,which will lead to them receiving all of the cash that "kind,old" Dr.Hichcock has left for them.Expecting to hear music to their ears,John and Margaret are instead given an unexpected surprise,when they are told that Hichcock has put all of the "will money" into a safe that only he has the key to.Franticly searching round for the key,Charles and Margaret begin to fear that the séances John held may have left to something else being left behind from "the other side" with his will… View on the film:With Ernesto Gastaldi's plodding screenplay being the main thing that led to The Terror of Dr.Hichcock being a huge disappointment,I was thrilled to discover that director Riccardo Freda had joined up with Oreste Biancoil to write the screenplay for this far superior film.Keeping the movie set in Hichcock's atmospheric castle,Freda and Biancoil impressively transform the movie gradually from a chilling Gothic Horror filled with "empty" wheelchairs moving around and a key which seems to always disappear,into a dark Film Noir as cracks begin to appear in Margaret and Charles's passionate lives over if they can truly trust,that neither of them will leave the other empty handed and run off with Hichcock's wealth all for themselves.For his terrificly stylised directing,Freda shows a surprisingly restrained approach to the Technicolour aspect of the movie,by filling the castle with mist and shadow to build up a shivering mood,that is ripped apart by bursting abrasive colours that Freda uses to give the movies most sinister moments a vibrant twist.Featuring in almost every single scene of the movie,Barbara Steele gives a truly tremendous performance that causes the viewer to become completely transfixed on the film,thanks to Steele being able to perfectly mix the movie's deep in the eyes Gothic terror,with a ravishing,double crossing side that leads to this being an appointment with Dr.Hichcock that you will happily remember.

BaronBl00d Riccardo Freda, an Italian director of skill who directed many Sword and Sandal films of the 60's as well as horror greats like I Vampiri, does a very serviceable job directing this thoughtful, mood-laden sequel of sorts to his earlier effort The Horrible Doctor Hitchcok. One does not need to have seen that earlier effort to follow what goes on here as they are really entities unto themselves with the same characters just going through different circumstances and having different motivations. In this film Dr. Hitchcock(living in Scotland - very implausible given the Mediterranean looks of most of the cast) is bound in a wheelchair and has nothing but sickly pity for himself as he wishes to die. Helping him remain alive is a local doctor giving him some sort of concoction to live and, of course, no love triangle would be complete without the love object of the other two sides - sultry, hypnotic breathless Barbara Steele - the 60's queen of the horror film - particularly the Gothic horror film. Steele is not a great actress by any stretch. She is lovely to look at and has the most impressive pair of - yes, I know where I could go here but really I intended to say eyes the entire time. Freda creates a slowly building tension between the central characters and the story is nothing exceptional in terms of creativity. You have seen this story before in various adaptations. Freda does; however, have a flair with the camera lens, and I was really surprised at how well he, the actors, and the story all combined to make an interesting film experience. The rest of the cast is all serviceable with Elio Jotta as Dr. Hitchcock being particularly effective and Harriet Medin(who was in the previous Hitchcock film also as a maid) doing a nice, creepy job as Catherine the housemaid. There are some very powerfully shot scenes: the tomb scene is genuinely eerie and the final denouement is quite good. Loads of atmosphere make this one of the best of its kind.

MARIO GAUCI This highly-regarded example of the Italian Gothic Horror style had eluded me until now; even so, having caught up with it at long last, I still wasn't done with the 'Curse Of THE GHOST': the Retromedia DVD proved faulty, with a glitch around the one-hour mark (where the image skipped and the audio dropped out) and then experienced complete freezing after 88 minutes - so much so that I had to finish the film off on another player! This was after a public domain copy I rented from Hollywood when I was there in late 2005 (which, on a hunch, I decided to check before watching) reverted to the Main Menu midway through the climax!!Anyway, the film itself is undeniably a highlight of the genre and one of Freda's best (which he made in just 12 days): a follow-up, not a sequel, to his previous collaboration with star Barbara Steele - THE HORRIBLE DR. HICHCOCK (1962) - despite the re-use of that notorious character's surname. In the earlier film, too, Steele had been overshadowed by a delightfully manic turn from Robert Flemyng but, here, she lives up to her iconic status as the Queen Of Gothic Horror: few actresses have managed to replicate her sensual mix of wickedness and vulnerability; as for the actor playing Hichcock this time around, who looks a bit like Howard Vernon, he's not too bad - if no match, ultimately, for Flemyng.Like I said with respect to Hammer's FEAR IN THE NIGHT (1972), the plot twists aren't very original - but they make for a great ride regardless; besides, one could just soak in the colorful visuals (even if the print involved features a lot of wear and tear!). Incidentally, the film is rather gory for its time (witness the 'ghost' exhibiting its decaying flesh and the brutal razor murder, with its wonderful device of having blood dripping across the camera lens to simulate the victim's POV), but the lush score (actually a collection of compositions by Francesco De Masi, Franco Mannino and Roman Vlad - billed under one Americanized name, Franck Wallace!) and a reasonable quota of chills (the creepy scenes where the doctor speaks through his faithful and vaguely sinister housekeeper - played by the ubiquitous Harriet White Medin - who, conveniently, doubles as a medium and the various 'apparitions' - wheelchair stumbling down the stairs, dangling corpse) are certainly par for the course...as is, after all, the film's decidedly languid pace.The deftly ironic climax is very effective - as a self-satisfied Hichcock expounds on his clever machinations while the immobilized Steele looks horridly on, fully knowing that she'll be blamed for the housekeeper's death and, worse still, that she killed her lover for no reason (i.e. he didn't betray her by stealing the jewels, as she had mistakenly assumed, and these were now once more in Hichcock's hands). The English dubbing isn't too bad considering; however, given the story's Scottish setting, it's odd that only one voice actor would deem it fit to attempt a pertinent accent (i.e. the solicitor who reads Dr. Hichcock's will) - which then causes it to seem unintentionally amusing alongside the less heavy inflections of his fellow dubbing artists!While Freda is often accused of being indifferent to his films (which he often did purely so as to recoup his gambling losses!), he was undoubtedly a pioneer: not only making the first Italian horror effort, but his masterful use of color in the Dr. Hichcock pictures certainly pushed the genre into that corner - after a solitary stab at it by Giorgio Ferroni in MILL OF THE STONE WOMEN (1960) - as few gothics were shot in black-and-white thereafter (notably three films featuring Steele herself, namely CASTLE OF BLOOD [1964], THE LONG HAIR OF DEATH [1964] and NIGHTMARE CASTLE aka THE FACELESS MONSTER [1965]); certainly, Freda's protégé Mario Bava followed his example...and gradually took over the genre!