Il boia scarlatto (1965)

... aka: Bloody Pit of Horror
... aka: Crimson Executioner, The
... aka: El verdugo escarlatto (The Scarlet Executioner)
... aka: Il castello di Artena (The Castle of Artena)
... aka: Io... il marchese de sade (I... the Marquis de Sade)
... aka: Red Hangman, The
... aka: Scarletto - Schloß des Blutes (Scarletto - Castle of Blood)
... aka: Tale of Torture, A
... aka: Torturbødlen (Torture Executioner)
... aka: Virgins for the Hangman
... aka: Vierges pour le bourreau (Virgin to the Executioner)

Directed by:
"Max Hunter" (Massimo Pupillo)

'Bout time I got a review for this one up, eh? *hangs head in shame* Filmed as Il boia scarlatto ("The Crimson Executioner") and known by a whole host of different titles depending on the country, this boasts of being filmed in "Psychovision" and mixes up Gothic horror, fetishistic torture and scantily-clad girls (and a guy) in a way that was considered extremely trashy in 1965. While the opening credits claim it was "Based on the writings of the Marquis de Sade" it's really not aside from having some Sadean themes that were already common and somewhat generic in this genre without the de Sade name-dropping. Things open with a brief prologue set in 1649. The musclebound, hooded "Crimson Executioner," who gets his jollies kidnapping, torturing and killing innocent people, is sentenced to death by means of one of his favorite torture devices; a iron maiden with long, sharp knife blades inside its doors. Before dying, the Executioner vows "I shall have my revenge!" A seal is then melted over the lock to entomb both his body and his evil soul. His mountaintop castle, a shrine to his barbarism and cruelty, is then locked up and forgotten for many years.

Centuries later, pulp horror publisher Max Parks ("Alfred Rice" / Alfredo Rizzo), who's scouting around Italy looking for a suitable castle to shoot book jacket art at, stumbles upon the Crimson Executioner's former pad and realizes it's perfect for his needs. After no one answers the front door, he, his crew and a handful of cover girl (and guy) models decide to sneak in. They soon meet the castle's unfriendly current owner, Travis Anderson (Mickey Hargitay), who promptly tells them to shove off. That is, until he sees one of the ladies - costume girl Edith ("Louise Barrett" / Luisa Baratto) - and realizes she looks a lot like a girl he was once engaged to... because she is the girl he was once engaged to. Caught up in a moment of weakness for his former flame, Travis agrees to let the crew spend the night and shoot pictures in a few of the chambers but informs them that his dungeon is strictly off limits. Of course, a couple of the male models - Perry ("Nick Angel" / Nando Angelini) and Raoul (Albert Gordon) - are down there just minutes later and accidentally knock over an axe that manages to slice the seal off of the Executioner's coffin.

The crew, also including frustrated reporter-turned-novelist Rick (Walter "Brandt" / Brandi), photographer Dermott (Ralph Zucker, also one of the producers) and a quartet of models; dumb blonde Nancy (Rita Klein), snobby Annie (Femi "Martin" / Benussi), Perry's girlfriend Kinojo (Moa Tahi) and Suzy (Barbara "Nelly" / Nelli), who can't seem to keep Raoul off her tail, begin a late night of photo shoots that's interrupted only briefly when Perry is "accidentally" killed after one of the props falls on and impales him. Parks offers the ladies three times their normal salary to stick around and finish, so that takes care of that. Not long after, Raoul and Suzy sneak down into the dungeon again and encounter the Executioner, who promptly snaps Raoul's back with a bear hug and then has Suzy take his place inside the iron maiden. Many more will die, thankfully in much more imaginative and entertaining ways.

There are lots of shots of the girls in bras and panties and loose-fitting tops showing off their bare backs and shoulders as they change, but the only full chest shot you'll be getting here is of Hargitay, in a hilariously camp role as a former muscleman actor turned deranged egotist who now lives by the Executioner's nihilistic philosophy. The very tan former Mr. America / Mr. Jayne Mansfield gets to strut around shirtless and in red tights or wearing a purple and pink silk floral robe (!) while gritting his teeth, laughing maniacally and spouting various nonsense. During one scene he proclaims "Mankind is made up of inferior creatures... who would have corrupted the harmony of my perfect body!" and then drops his robe and starts rubbing oil all over his chest. Hilarious! Hargitay would later lend his "talents" to other Italian sleaze-horror flicks like Lady Frankenstein (1971), Delirium (1972) and The Reincarnation of Isabel (1972) but surely this here is the over-the-top role he'll forever be best-known for.

The various torture devices and death traps the psycho puts the characters in have a decidedly kinky slant to them that I can only describe as being "bondage-y." Bondage-y? Yes, bondage-y... because sometimes I cannot corrupt my perfect harmony long enough to stop writing and consult a thesaurus. There's a ridiculous booby trap where one of the ladies is tied up to a web, with a giant mechanical spider headed toward her and dozens of wires attached to bows that will shoot off arrows whenever they're triggered. Travis ties two women to a spinning contraption that slices up their breasts with a blade and then ties Rick to a dead body on a bed with a canopy of nails slowly lowering down on him. There's also torture with ice cold water and hot tar, a stretching out on the rack, a hanging, a guy put in a steel cage and burned alive, a chain whipping, a strangulation, an arrow through the chest, a poison doll called "The Lover of Death" and much more.

While this is far from a good movie (the acting, English dubbing and dialogue are awful and it can't even seem to decide whether the killer is possessed, insane or a combination of both), there's enough action, torture and unintentional laughs to make the whole thing extremely entertaining. The final 20 minutes are especially fun and lively. Therefore this mash-up of the good and the terrible ends up being one of those rare films that almost defies a rating on my star scale. There's ample reason to give it both a low and a high score, so I'm going right down the middle with a side of SBIG.

Pupillo also made TERROR-CREATURES FROM THE GRAVE starring Barbara Steele, Brandi and Rizzo and the very rare THE VENDETTA OF LADY MORGAN starring Nelli, Paul Muller, Erika Blanc and Gordon Mitchell. All three are Gothic horrors made the same year for the same production company. Pit and Terror-Creatures played on a double bill here in the U.S. with the tagline "2 bone-chilling shockers of unbelievable horror!" Both also joined 1968's The Vampire-Beast Craves Blood (a lousy British monster movie starring Peter Cushing best known as THE BLOOD BEAST TERROR) and Curse of the Blood Ghouls (an Italian vampire movie best known now as Slaughter of the Vampires) for a quadruple feature. They got even more mileage out of Pit later on when it was put on the bottom half of yet another double feature with Goke, Body Snatcher from Hell (1968) headlining.

Now in the public domain, this is extremely easy to find, either cheaply on DVD or for free on the internet. However, most of the public domain prints are in terrible shape and completely washed out. Your best bet is to go for the Something Weird / Image "special edition" DVD, which is a nice widescreen print boasting very vibrant Eastmancolor photography completely lost in most of the other versions. The release also comes with some additional bonus footage from the longer A Tale of Torture version.

★★

La philosophie dans le boudoir (1971) [filmed in 1969]

... aka: Beyond Love and Evil
... aka: Decameron francese (French Decameron)
... aka: Marquis de Sade's Beyond Love and Evil
... aka: Philosophy in the Boudoir
... aka: Philosophy of the Bedroom, The

Directed by:
Jacques Scandelari

"With this torch, I proclaim the triumph of evil over good. This purifying fire burns away all that is false and leaves only the essential of man; man whose true nature is sensual and erotic. The cleansing fire releases man from his outward traditions, freeing his true being. This being is permitted to flourish here in this sanctuary in accordance with his instincts. All forms of sensuality and eroticism are practiced to liberate man. This cruel fire, which burns so brightly it reaches into heaven itself, denying God his right to judge man. Only man can judge himself and say what is good and what is evil. Burn, bright fire, proclaim that man is triumphant at last as a sensual being enjoying to the fullest his true nature." This opening voice-over - which basically lays the groundwork for what we're about to see - is spouted by a man burning a skeleton hoisted up on a cross and it's pretty much just a fancy way of saying, "A bunch of freaks will now do a bunch of kinky things for about 90 minutes... and they won't feel guilty about it!" While that's a philosophy I can certainly get down with. I just wish it had been in service of a film that was a little more compelling and a little less silly.

Young, naive Zenoff (Lucas de Chabaneix, who's extremely pretty even with a unibrow), makes his way through the forest and stumbles upon a white mansion guarded by naked female "statues" with whips and dogs chained-up on the stairs. After averting those minor threats, he then enters into a large banquet room where a dinner / orgy is taking place. There, a bunch of people (mostly half-naked women and men in strange face paint and wigs) eat like pigs, roll around all over each other, feed each other, grope each other, fondle snakes, frogs and a hedgehog (?!) and sip on champagne while spouting a bunch of incomprehensible pseudo-philosophical gibberish that makes them seem more mentally imbalanced than enlightened. This 'love cult' was started by a wealthy weird-o named Yalo (Fred Saint-James), who believes the most important part of life is pleasure and thus has opened his home to anyone interested in a haven away from war, crime, corruption and the confining moral judgments of religion and the 'real world.' So what's a nice boy like Zenoff doing in a place like this? Well, he's fallen in love with one of the cult members and is willing to join them temporarily in order to convince the object of his affections to leave with him.

The object of affection in question is Xenia (Souchka), who's first seen waking up nude in bed in an all-white room with an egg-shaped lamp. She plays with a white bunny rabbit, rubs a white powder puff along her body, puts on a transparent robe lined with white fur and slips on some white furry slippers. Yes, that means she's a virgin and thus held in high regard. She's set to be married to Yalo and he's promised the rest of the cult that they too can have a sample once he's done taking her virtue. In the meantime, he keeps her bedroom door heavily guarded by a black muscleman in a speedo. Though the cult is supposedly all about free will, love and expression, Yalo has managed to warp everything by staging "punishments" where women are hunted down with dogs, whipped and then offered up to Varlac (Serge Halsdorf); a filthy, horny madman rapist he keeps locked away in the cellar. Either that, or they're chased down on horses, rubbed down with oil and engage in lesbian sex on a tree branch. I guess it depends on everyone's mood any given day.

Zenoff finally convinces Xenia to escape with him while everyone else is busy on one of their hunts. They run into the forest for a spell when suddenly Zenoff turns on Xenia and rapes her in a muddy creek. By the very next shot, the two are walking around naked holding hands. They then go back to the mansion (uhhh... why?), lounge around naked and have sex again. Next thing we know Xenia is going through the wedding ceremony and consummating her vows in front of a bunch of robed onlookers. The love triangle ends when one of the guys stabs the other to death and then Xenia morphs into a fascist, Ilsa-like queen bee of the colony who presides over ass-branding, ass-pinching, whipping and mass torture of the disobedient in her flock.

Supposedly this was based on the "memoirs" of the Marquis de Sade but that seems more like a marketing ploy than anything else. Though it does contain plenty of Sadean themes, it has very little to do with its own namesake: de Sade's 1795 book "La philosophie dans le boudoir." Instead of sticking to a straightforward plot, this is more a succession of weird and sometimes surreal set pieces concentrating on the kinky and perverse. There's almost nonstop nudity and lots of whipping, though this was no doubt far more shocking in the late 60s than it is today. During one long sequence, our hero walks along outside the mansion peaking in windows and sees such odd sights as a nude conga line, a guy sitting on the toilet painting, another guy letting a bunch of lesbians dry their feet on them and then drinking their bath water, a man stripped naked, dressed in stockings and then whipped by a bitchy, deranged, green drag queen named Sabrina (?) and, in the film's most memorable moment, a naked woman dumping a bunch of raw, slimy seafood onto her bed then masturbating with a bunch of live fish and a dead octopus (!?)

Does any of this make sense? No, not really. Is it pretentious? Oh God yes, and often hilariously so. It's mostly just a bunch of silly, self-indulgent nonsense with blank, lifeless, impossible-to-care-about characters doing and saying moronic things as well as a shapeless non-plot that has little to actually say outside of its opening monologue. However, it at least has decadent enough production values to complement its subject matter, which partially offsets all of the annoyances. The camerawork is quite interesting and experimental at times, there's a haunting music score and the odd make-up, costumes, artwork and production design provide aesthetic interest throughout.

As is often the case with these lesser-known, older European films, there are conflicting accounts of when this was actually released. The copyright date is 1969 and some sources claim its was actually released in France that same year. Other sources claim it was released two years later in its home country. Here in America it was dubbed and released theatrically in 1971 by Allied Artists Pictures, during that brief time in the early 70s where going to see X-rated films was in vogue, thanks mostly to the success of Best Picture Oscar winner Midnight Cowboy (1969). Most of the cast appear to be using fake names (the lead isn't even credited), though the crew does not. Producer Robert de Nesle also worked on around fifteen different Jess Franco films (usually as a producer) and the director made a few other sleazy flicks as well as a handful of hardcore gay pornos using the alias "Marvin Merkins." There's no legit DVD release to my knowledge.

★★1/2