The Emilio Miraglia
Killer Queen Box Set
Italy | 1971, 1972
Directed by Emilio P. Miraglia
Starring
Marina Malfatti, Anthony Steffan
Erica Blanc, Barbara Bouchet
Marino Masé, Sybil Danning
Color | Not Rated
THE NIGHT EVELYN...: 98 Min.
RED QUEEN KILLS 7 TIMES: 103 Min.
Format: DVD (R0 - NTSC | 2-disc set)
NoShame Films
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Another cool giallo from NoShame
   
Evelyn/
Grave
  
  9
Red Queen
 
  9  
  10    
Guest Review by William P. Simmons
A genre often more concerned with style than plot, the giallo tends to focus on sensational themes of murder, creative violence, perverse sexuality, and atmosphere (both surface and internal) more often than on the bare-bones mechanics of story. Narratives are usually as broken and bloodied as the corpses which panning cameras capture in decadent, graphic beauty. The style of filming employed by such directors as Bava, Argento, and Martino usually dictate, and in part define, the story. With this in mind, what a story is about is often less important than how it is treated. Will the films emphasis be on violence and sheer sensationalism or the stealthy accumulation of deductive reasoning? Does logic or bloodshed, creative murder set-pieces or subtle characterization, best define a particular story, its themes, its flavor?
    These considerations just as equally apply to director Emilio P. Miraglia, as we approach what are considered two of the more bizarre, rare, stylized gialli. Honoring the traditional atmosphere of the form with a contradictory revisionist attitude in their approach, Miraglia's movies are representative masterpieces of sleaze, suspense, and sensuality. Celebrated (and characterized by) their sheer excess of emotion, atmosphere and physical beauty, these classic fear films are also subversive in their approach to the by now established formula of the giallo. Miraglia approaches trademark themes of visually stunning violence, fetishistic sexuality, and emotional terror with inspiring dedication to surface grand guignol elements and a sense of experimentation. Surprise tactics undermine the form from within as his stories defy audience expectations.
    Miraglia is no Argento, nor does he pretend to be. In The Night Evelyn Came Out of the Grave and The Red Queen Kills Seven Times he invokes scenes of decadent beauty reminiscent of the classical Italian Gothic. Lovingly mirroring the decrepit condition of his character's fragmented, crumbling psyches with murky landscapes, rotting corpses, and long winding castle hallways, he then invades this sense of haunted pasts and tradition with a startling contemporary sensuality, sleaziness, and bitter contempt for traditional morals.
    This returns us to the question of how Miraglia treats his story, his themes, and his style. Is he thoughtful and reflective, socially conscious or nihilistic? Does his approach delight in death or make of it a terrible waste? Is sex and violence fondled like a toy, or are the conventions of the form subverted from within, arousing anticipation only to reject a final exploitation of the base, primal instincts that these films so wonderfully capture? All of the above!
    This first feature in the 2-disc set, The Night Evelyn Came Out of the Grave, is noticeably more concerned with surface story, plot complexity, and thematic integrity than many of Lenzi's or even some of Argento's gialli. While the effects are somewhat uneven, sometimes erring on the side of sensationalism and overly mechanical, this attention to narrative establishes a strong foundation on which to build luscious sadomasochist beatings, sexual depravity, mistrusted friends, shocking conspiracies and an unapologetic surrender to graveyard poetry.
    While the giallo is usually more attracted to the erotically charged, enthusiastic, graphic, and emotionally viscous murders of a story than on plot itself — despite finding its origins partially from the plot-heavy British and American mystery novels, and the German Krimi — Miraglia allows story a place of prominence. Murder and deviancy contribute to overall story, story does not bend beneath the weight of effect. Proving more emotionally involving than American and British murder mysteries, whose little old ladies calmly (and often unbelievably!) deduce the identities of murderers who then break down like bumbling children caught stealing cookies, Miraglia delights in the art of murder itself, staring at it with the innocence of a child and the precision of a mechanic. The stalking camera, the moment of attack, the emotionally tense conflict between victim and victimizer, and, at last, the kill — these are the tools of Miraglia, crafting for us that delirious moment we should hate but are taught to love, which depict violence as poetic, death as lovely, suffering as just another expression of sex. Miraglia, while working firmly within the boundaries of the giallo, injects greater storytelling skills and a quasi-mythic atmosphere into his visceral and deductive plots, making his work unique in both theme and approach.
    The Night Evelyn Came Out of the Grave is a captivating ménage of kinky sexual attractions, murderous blackmail, and greed — surrounded and lent further emotional and stylistic quality by the suggestion of a supernatural presence which lends atmosphere and further emotional/psychological complexities to an already sordid plot. Focusing on greed, the frailty of relationships, and mental illness, this grimy little thriller is a mean-spirited glimpse of the ugly charnel-house condition beautifully photographed and carefully directed. Undeniably entrenched in the traditions of the giallo, the film is just as clearly aimed at reaching newer depths of exploitation, focusing on decay, corpse imagery, deviant sexuality, and bloodshed. While this could serve as a catalogue to describe several genre pictures from the late-great Mario Bava on, an undeniably sordid feeling sticks to the skin of this movie, like maggots to a corpse — or, in keeping with the tone, like whip marks on flesh. Similar in feel, if not quality, to Freda's Horrible Dr. Hitchcock (1962), the director strives to capture the necrophiliac air and grand decadence of early Freda, instilling the frame with images of swirling fogs, decrepit gravestones, and moodily lit buildings whose interiors are as faded as the ideals of his characters.
    This marks the first time that the The Night Evelyn Came Out of the Grave has ever been released properly and in such fine condition. The psycho-sexual story introduces us to Lord Alan Cunningham (Anthony Steffen), an unbalanced man of wealth and psychosis, living in an enormous mansion when not torturing and killing fine looking girls — or is he? Of course this uncertainty, along with the usual red herrings and, more importantly, the internal doubt and confusion of the major POV character himself, provides the tension of the surface story. With his redheaded wife Evelyn dead, he consoles himself by seducing strippers and hookers — all with red hair — to his torture chamber, often ending in death. When Alan meets blonde Gladys (Marina Malfatti), he falls in love, they get married, believing perhaps, like Vincent Price in Roger Corman's Tomb of Ligeia, that such a move will solve his problems. Instead horrible hallucinations — and the deaths — intensify. Despite disruptions in narrative flow and a rather obvious 'trick' ending, this entry in the slaughter sweepstakes offers a '70s atmosphere that clings like skin to bone, rather good acting by a sexy looking cast of cinematic legends, and finely achieved moments of sensationalistic shock and stealthy dread. Sexy Erica Blanc (The Devil's Nightmare) puts in her time as an enticing dancer, and the interwoven elements of mystery/giallo more often entertains than disappoints.
    While appropriately moody, lending a subjective supernaturalism and heightened dark beauty to the film in general, the deceptive use of the pseudo-supernatural to generate movement in the plot proves to be something of a letdown when the occult mythos underscoring the events in the story are uncovered, a la Scooby Doo. A giallo attempting to evoke the mystery and primal terror of supernatural horror, Grave is also more connected to the traditional thriller school in terms of plotting if not in terms of style than the typical giallo. While Argento and Bava certainly burrowed elements of mystery thrillers for their convoluted plots, their emphasis was distinctly Italian, attracted to distorted perspective and style more than on the "whodunit" model used so often in the Western mystery or Krimi. Even when Argento employs a thriller construct he emphasizes suspense and shock more than traditional mystery tactics. To put it another way, the focus of the traditional giallo is again on how, not why, on the decadent dance of death, not a 'solution' (save for the barest plot kernels). Miraglia injects (maybe unconsciously) a British sensibility in his cauldron of grue, grit, and graphic sex that makes it feel both nostalgic yet refreshing in its deductive conventions and paranoid elements if not in its undeniably modern violence.
    An occult theme and atmosphere also runs through the second and superior offering, The Red Queen Kills Seven Times. In this ménage of psycho-sexual intimacy and catharsis, the supernatural element plays more importance in the development of plot and character than in the previous feature, as well more integral to the general atmosphere of the movie in general. While the supernatural element hinted within the twisting confines of the hypnotic plot is only hinted at (similar to Grave), and is employed for mood more than any significant plot rationale, its very presence lends the suspenseful vivisection of trust and identity the aura of an adult, twisted faerie tale, lending further electrical charge to the cat-and-mouse hysteria. Beginning with a doting wealthy grandfather breaking up an argument between his quarreling granddaughters, we (with the children) hear the doom-haunted legend of the "two queens" — one in black, one in red, whose animosity ended in torture and death as the Red Queen, a viscous vixen, stabbed her sister and six other victims in a supernatural act of vengeance. It is believed that a curse exists in the family, handed down in grand gothic fashion, and that madness or death possess one of their number every 100 years.
    This beginning scene establishes not only the seeds of plot which will continue to grow in the stony soil of the character's hearts, teasing our expectations, it also creates a background atmosphere of supernatural tension and possibility which, if not integral to the plot, does effectively lend further atmosphere. In 1972, the time is ripe for disaster, and granddaughter Kitty (Barbara Bouchet) is now a fashion photographer. After accidentally killing her sister Evelyn — so she thinks — her state of mind is tormented, and she half believes that history will repeat itself and that she may be herself responsible for awakening the spiritual malignance of the Red Queen. When the grandfather dies in bed after a experiencing a haunting vision, the obligatory will-reading introduces into the plot a dash of "The Old House" seasoning, promising greed, family corruption, and blackmail that only worsens. An envelope reveals that they family must wait an entire year to see who will get what from the old man's estate, after which several viscous murders ensue — many of them at Kitty's fashion agency (the setting perhaps evoking shades of Bava's Blood and Black Lace). The murders are poems to perversity, orchestrated like fine, dripping music, showing much ingenuity, such as when a man is dragged along a winding street by a racing car, the screeching, laughing figure behind the wheel ramming said man's head against concrete! The murderer appears to wear a red cape, and resembles the terrible myth of family folklore...
    A cinematic vehicle for the lovely Bouchet (Amuck!), perhaps the greatest star of the piece is the madly cackling, rarely seen femme fatal the Red Queen, whose red flowing cape and dripping dagger arouse unease and goosebumps. Interestingly, her presence is largely contained to the background, in this way mirroring the effects of myth and urban legend, haunting the lives of characters, if you will, by suggestion just as much by the more physical debauchery. The director's attention to the art of the creative skill and the more impressive psychological depths of suffering is pronounced more gracefully and effectively here than in Grave. Blood flows as freely as style; the camera focuses on shadows, meaningful glances, and body language that says far more than words. While the script is indeed delightfully demented, Miraglia's direction breaths life into word, seductively leading us towards an end which is wonderfully claustrophobic if somewhat hurried in execution. Ugo Pagliai as Kitty's lover brings further complexity to the story, mirroring the anti-hero lover of the classic Gothic novel Jane Eyre with a demented wife locked behind the bars of an asylum. The coldly sexual Marina Malfatti proves crucial to the riddle's denouement. The soundtrack lends atmosphere and intimacy to the plots of both films, crafted by Bruno Nicolai, who exhibits the uncanny knack for finding the soul of a scene, be it dark as the charnel house or bright as lust.

The visual and audio presentations of these films are reason for celebration amongst fans of European horror in general, and especially mouthwatering to those who feel a special sense of intimacy for the giallo. "Digitally remastered in Hi-Def from the original 35mm negative," the back of the eye-catching collector's box proclaims, and you better believe they wouldn't shit ya! NoShame's version of The Night Evelyn Came Out of the Grave is presented in its definitive version, teasing out maximum picture quality with strong, bold lines and wondrous framing integrity. Generously surrounded with enriching supplements that make the package a journey of discovery, the picture is presented in its original 2.35:1 format (with anamorphic enhancement). Completely uncut, colors are bold and vibrant. The Red Queen Kills Seven Times is perhaps even better in terms of picture quality. Presented in 2.35:1 anamorphic widescreen, the feature looks fabulous in its restored version, with captivating color and a careful preservation of scope and picture. Wisely following its established habit of providing alternative audio options, NoShame graces both movies with 2.0 mono and Dolby sound in English and Italian language tracks, with additional subtitles. While those searching for nostalgic thrills, wanting to revisit the grindhouse days of drive-in infamy, might enjoy the gonzo quality of the dubbing, the Italian language tracks offer a more authentic experience, devoid of the cheese factor. Either way, you have to appreciate being given the choice!
    Nothing less than a great big love letter to Italian horror and thriller cinema, the extras culled together for this box set are a celebration of the sub-genre as well as historical documents, lending greater worth and resonance to the experience even as they make possible a greater appreciation of the film by allowing us to experience the historical and cultural history/subtext of the productions. While the movies themselves are of course the primary reason for celebration, the box which houses the collection is a work of art, decorated by a mood-establishing ménage of black-and-white images lifted from the films. A front-piece complete with a bloody knife and a Bava-esque figure draped in black with a fedora sets the mood for the dark treasures within. The centerpiece is the mini "Killer Queen" figurine herself, cape flowing in a frozen wind, dagger drawn back, icy midnight eyes a portent of death. This attention to detail carries over onto the front of the discs themselves, with stills from the movies gracing the fronts, a stylish carry-case, and inside, two lovingly replicated lobby cards of each film detailing a choice scene. Lastly, what looks to be a reversible cover finishes the packaging details. If all this wasn't enough, an impressively detailed booklet by one Chris D. is tucked snugly within. Thick with luscious visuals, these liner notes are actually well written, offering informative and entertaining insights into the film and its creators. The writing is crisp, unpretentious, and charged with infectious enthusiasm. Covering in the first few pages the career of the director and the various incarnations and versions of both films, following are Bios (some by Richard Harland Smith) of Emilio Miraglia, Lorenzo Baraldi, Barbara Bouchet, Sybil Danning, Marino Mase, Erica Blanc, Giacomo Rossi Stuart, and Anthony Steffen. Selected filmographies, color photos, stills, and poster art complete the booklet.
    The extras are themselves a tribute to the gory-glory days of the giallo. Included on the first disc is The Whip and the Body (21 minutes), which contains a thorough interview with Erica Blanc, who herself provides an introduction to the movie. Still Rising from the Grave (23 min.) is an interview with production designer Lorenzo Baraldi, who discusses renovating the large castle for its decadent, gloomy feeling, as well as achieving the right look for costumes and actors. These are followed by both an International and Italian film trailer, and, finally, a still and poster gallery. The extras for Red Queen (Disc 2) are even more appetizing, including yet another interview with production designer Baraldi, as well as his own introduction. It should be noted that each visit with the set designer is intriguing, covering new ground. The featurette Dead à Porter (14 min.) leaves you wanting more, while Round Up the Usual Suspects (15 min.), an interview with Actor Marino Masé, is personal and enthusiastic, recalling his emotions when he first landed the role. If I Met Emilio Miraglia Today is an odd, quirky extra, wherein Baraldi, Blanc and Masé tell us what they would say to the director if they could, while My Favorite Films is a minute of Bouchet mentioning the cult movies she's best remembered for. An alternative opening follows, ending with a brief still and poster gallery.
    A virtuoso treatment of two rare Italian thrillers as important for their breaking of stylistic conventions as for their colorful, sensationalistic celebration of carnality and carnage, The Killer Queen Box Set is surely the outstanding giallo offering of 2006. A must-have morsel for the dark devotee! 5/04/06

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