Long Hair of Death is a great film. I have to disagree with other reviewers regarding this, both those here on the IMDb and some in printed publications. This is 1960s Italian horror at its very best and, to me, that means it is among the very best, period. I can understand why many in today's impatient, multi-task oriented audience would not like slow moving, atmospheric films which are very dull compared to the current era's action and gore oriented offerings. Films such as these require a cultivated taste of sorts and I realize they are not for everybody.
Long Hair of Death is outstanding because it is exactly what those who do not like it say that it is. It is slow moving, contains little action and there are long periods of -- not much. Not much, except for a feeling of dread and unease that begins immediately after the story begins and does not end until literally the film's end. The slowness is the main reason the viewer sits in uncomfortable agony waiting for something bad to happen, which eventually does.
The story concerns a woman burnt at the stake in 16th century Italy, falsely accused of murder. That she happens to be a count's wife and the count's son the real villain of the story are of great importance in the storyline. Giorgio Ardisson as the evil Kurt Humboldt is one of the big screen's most despicable characters, as throughout the film he commits multiple murder and rape, but sadly most persons not interested in obscure cinema will never know this or experience his splendid performance. The great Barbara Steele (How I wish she had done a greater body of work!) plays a dual role, her characters being pretty much the same as they were in 1960's Black Sunday, (La Maschera del Demonio), as Helen Karnstein, wife of Count Humboldt and also as her daughter Mary. Again, the story is pretty much the same as Black Sunday, with the emphasis being on the executed Helen and the curse she places upon the Count and his son Kurt Humboldt. Daughter Mary, who is a lookalike for her mother, assists in the revenge by playing upon the Count's guilt to destroy him emotionally and getting Kurt to fall in love with her. The fact that Kurt is already married to Mary's sister Elizabeth, herself abused by Kurt, adds dramatically to the sense of moral decay in the Humboldt castle.
The ultimate revenge is as creative as it is brutal. Watch the film to see what it is, I won't provide SPOILERS here.
Barbara Steele remains to this day the standard which all horror (scream) queens are judged, and that is interesting because she does very little screaming and performs little if any violence in her films. She is to horror acting what Alfred Hitchcock was to suspense directing. They frighten you with "What if . . . ," instead of actual brutality and exaggerated acting. From the moment she first appears on screen in any of her films one knows trouble will soon follow and it has nothing to do with anything she says or does. Whatever "it" is, she has it in abundance. Long Hair of Death will remind some viewers of 1972's Lisa and the Devil, (Lisa e il Diavolo) another story of a decaying household but set to modern times. One wonders how much better that film would have been with Ms. Steele in the lead instead of Elke Sommer, a fine actress but out of her depth in psychological horror.
Director Antonio Margheriti has never received the credit he deserves as a fine director of subdued horror. Margheriti will take you on a painstaking walk through the dreariest of castles and make you feel the suspense of every hesitant step and so it is with Long hair of Death. I recently viewed Long Hair of Death after having not seen it in awhile and was emotionally drained by the time the end credits rolled.
If you are unfamiliar with this type of film and are unimpressed with the sensationalism of today's cinema, then find Long Hair of Death or any of the other fine films of Margheriti or Mario Bava. I believe you will be pleasantly surprised and join me in my admiration of Italian horror cinema of this period.
Long Hair of Death is outstanding because it is exactly what those who do not like it say that it is. It is slow moving, contains little action and there are long periods of -- not much. Not much, except for a feeling of dread and unease that begins immediately after the story begins and does not end until literally the film's end. The slowness is the main reason the viewer sits in uncomfortable agony waiting for something bad to happen, which eventually does.
The story concerns a woman burnt at the stake in 16th century Italy, falsely accused of murder. That she happens to be a count's wife and the count's son the real villain of the story are of great importance in the storyline. Giorgio Ardisson as the evil Kurt Humboldt is one of the big screen's most despicable characters, as throughout the film he commits multiple murder and rape, but sadly most persons not interested in obscure cinema will never know this or experience his splendid performance. The great Barbara Steele (How I wish she had done a greater body of work!) plays a dual role, her characters being pretty much the same as they were in 1960's Black Sunday, (La Maschera del Demonio), as Helen Karnstein, wife of Count Humboldt and also as her daughter Mary. Again, the story is pretty much the same as Black Sunday, with the emphasis being on the executed Helen and the curse she places upon the Count and his son Kurt Humboldt. Daughter Mary, who is a lookalike for her mother, assists in the revenge by playing upon the Count's guilt to destroy him emotionally and getting Kurt to fall in love with her. The fact that Kurt is already married to Mary's sister Elizabeth, herself abused by Kurt, adds dramatically to the sense of moral decay in the Humboldt castle.
The ultimate revenge is as creative as it is brutal. Watch the film to see what it is, I won't provide SPOILERS here.
Barbara Steele remains to this day the standard which all horror (scream) queens are judged, and that is interesting because she does very little screaming and performs little if any violence in her films. She is to horror acting what Alfred Hitchcock was to suspense directing. They frighten you with "What if . . . ," instead of actual brutality and exaggerated acting. From the moment she first appears on screen in any of her films one knows trouble will soon follow and it has nothing to do with anything she says or does. Whatever "it" is, she has it in abundance. Long Hair of Death will remind some viewers of 1972's Lisa and the Devil, (Lisa e il Diavolo) another story of a decaying household but set to modern times. One wonders how much better that film would have been with Ms. Steele in the lead instead of Elke Sommer, a fine actress but out of her depth in psychological horror.
Director Antonio Margheriti has never received the credit he deserves as a fine director of subdued horror. Margheriti will take you on a painstaking walk through the dreariest of castles and make you feel the suspense of every hesitant step and so it is with Long hair of Death. I recently viewed Long Hair of Death after having not seen it in awhile and was emotionally drained by the time the end credits rolled.
If you are unfamiliar with this type of film and are unimpressed with the sensationalism of today's cinema, then find Long Hair of Death or any of the other fine films of Margheriti or Mario Bava. I believe you will be pleasantly surprised and join me in my admiration of Italian horror cinema of this period.