Perhaps director Antonio Margheriti's answer to Mario Bava's BLACK Sunday, THE LONG HAIR OF DEATH features a witch destroyed for the death of Count Humboldt's brother, framed for the murder by the real killer, Kurt Humboldt(George Ardisson)vying for a power of position in the kingdom. The witch vows revenge, cursing the Humboldts and calling on her daughter, Helen(Barbara Steele)to wreak vengeance on them. Having failed at her attempt to dissuade Count Humboldt of passing sentence on her innocent mother, Helen is then pushed off a cliff, into a rushing river, by him. Poor Elizabeth Karnstein(Halina Zalewska), as a child, had to watch her mother burn alive, and attend the funeral of her sister, Helen. As an adult, life hasn't improved much as Elizabeth has followed the commands of Count Humboldt, often fighting off the sexual advances of Kurt, who proclaims his intended desire to have her regardless of the young woman's disgust towards him. Under marriage, Elizabeth endures Kurt's control over her body, awaiting possible revenge down the road..it comes in the form of Mary(Barbara Steele). Helen's body awakens as the rains fall bringing hope to a village riddled with the black plague, and her corpse rises in the form of Mary, interrupting a church sermon, causing an already guilt-stricken Count Humboldt to collapse in a state of shock, his death providing Kurt with the throne. Kurt becomes enamored and infatuated with Mary, lustfully desiring her, soon plotting to kill Elizabeth. Mary, at first hesitant, soon joins Kurt in his scheme to poison her, suffocating her within a closed crypt. Thoroughly pleased with their "success", Kurt awakens the next morning in horror as the maidservant, Grumalda(Laura Nucci)exits her room after having a conversation with Elizabeth! How could this be?! The rest of the film shows Kurt's progressive state of unease as others mention seeing and talking with a wife that's supposed to be dead.
Admittedly, Margheriti's film takes it's time developing the plot, but I truly enjoyed the Gothic trappings of the massive castle and the secret walls which seem to exist throughout, leading to rooms as an exit from the burial chamber. Steele is featured in quite a grand style, Margheriti allowing her to seduce Kurt with her feminine wiles(..she is positively beautiful in this movie, and enchanting)and embellish in his torment at the end as a spirit whose finally seeing her enemy squirm. Ardisson, as the conniving, lecherous, egotistical, back-stabbing, underhanded Kurt Humboldt is a perfectly loathsome creature easy to root against, with the ending providing a feeling of satisfaction that justice was served. I wonder if those behind THE WICKER MAN saw the ending to this movie. I would definitely warn those with little tolerance for characters moving throughout a castle at great length, because this film follows them almost from one complete place to another. I had a feeling that Margheriti wanted to establish the importance of a medieval palace and how the characters move throughout, displaying the ability to cleverly hide adultery and fornication, while also showing how one could concoct a scheme to successfully murder someone without getting caught. And, to be honest, I think Margheriti simply enjoyed shooting within the castle, hoping to engage the viewer in the atmosphere within the walls. Above all, THE LONG HAIR OF DEATH is still a revenge story through and through, with the director building his story, bit by bit, allowing Kurt to follow his rotten father(..who at least felt sorrow and guilt for actions he committed)to his own tragedy, just as the witch he put to death promised.
Admittedly, Margheriti's film takes it's time developing the plot, but I truly enjoyed the Gothic trappings of the massive castle and the secret walls which seem to exist throughout, leading to rooms as an exit from the burial chamber. Steele is featured in quite a grand style, Margheriti allowing her to seduce Kurt with her feminine wiles(..she is positively beautiful in this movie, and enchanting)and embellish in his torment at the end as a spirit whose finally seeing her enemy squirm. Ardisson, as the conniving, lecherous, egotistical, back-stabbing, underhanded Kurt Humboldt is a perfectly loathsome creature easy to root against, with the ending providing a feeling of satisfaction that justice was served. I wonder if those behind THE WICKER MAN saw the ending to this movie. I would definitely warn those with little tolerance for characters moving throughout a castle at great length, because this film follows them almost from one complete place to another. I had a feeling that Margheriti wanted to establish the importance of a medieval palace and how the characters move throughout, displaying the ability to cleverly hide adultery and fornication, while also showing how one could concoct a scheme to successfully murder someone without getting caught. And, to be honest, I think Margheriti simply enjoyed shooting within the castle, hoping to engage the viewer in the atmosphere within the walls. Above all, THE LONG HAIR OF DEATH is still a revenge story through and through, with the director building his story, bit by bit, allowing Kurt to follow his rotten father(..who at least felt sorrow and guilt for actions he committed)to his own tragedy, just as the witch he put to death promised.