Crazy Desires of a Murderer/I vizi morbosi di una governante

Italy, 1973

Directed by Filippo Walter Ratti

Cast:
Corrado Gaipa, Isabelle Marchall, Roberto Zattin, Gaetano Russo, Annie Karole Edel, Adler Gray, Beppe Colombo, Patrizia Gori, Rino Bellini, Ambrogio Molteni, Sergio Orsi, Claudio Peticchio


Time for me to sit down with another obscure little giallo – more specifically an obscure little low-budget effort named Crazy Desires of a Murderer from director Filippo Walter Ratti, who is probably best remembered for his stylish gothic horror movie The Night of the Damned (1971).

The plot plays out in a crumbling old castle and we are introduced to a beautiful young upper class girl named Ileana De Chablais (Isabelle Marchall) as she returns to her massive family estate after a trip to China. With her she has brought her old friends Frank (Beppe Colombo), Gretel (Adler Gray) and Elsa (Patrizia Gori), as well as two more recent acquaintances, Bobby (Gaetano Russo) and Pier Luigi (Roberto Zattin). Ileana’s father, an old, wheelchair-bound baron, is an antiques lover, so Ileana has brought some collectible Chinese vases for him. But unbeknownst to Ileana, Bobby and Pier Luigi have hidden a stash of opium in the vases, which went through the customs with no problems thanks to Ileana’s wealth and connections. Apparently, Pier Luigi owes a lot of money to a couple of nasty drug dealers and they are threatening to kill him unless he pays up quickly.


Ileana and her friends arrive at the castle


The precious Chinese vases


It doesn’t take long before the young friends start to engage in an evening of wild partying and a bit of kinky bed-hopping. But in the middle of the night, a mysterious killer sneaks into Elsa’s bedroom and stabs her to death. He then proceeds to carve out her eyeballs.




Elsa’s gruesome demise


Soon afterwards, a peculiar police inspector (Corrado Gaipa) arrives to investigate the murder and he decides to take residence at the estate until he is able to unmask the killer. There is certainly no shortage of prospective killers but the number one suspect is Ileana’s younger brother Leandro, a disturbed young man who is mute due to a childhood trauma and who prefers to stay hidden in the basement where he can practice his taxidermist hobby. The rest of the suspects are made up of Ileana and her friends, as well as Hans, the sinister butler; Dr. Olsen, the equally sinister family physician, and Bertha (Annie Karole Edel), the faithful but horny housekeeper who seems to be getting it on with everyone.


The creepy taxidermist brother gives Gretel a good scare



Made at the height of the giallo craze in the early 1970s, Crazy Desires of a Murderer was plagued by a long and complicated release history and it continues to languish in obscurity to this day. It was filmed circa late 1972 or early 1973 but for whatever reason it was put on the shelf for several years. However, a photo-novel version was published in the magazine Cinesex Mese in June 1973 under the title Gli occhi verdi della morte (translation: The green eyes of death). Presumably, this was the film’s original title and it is most likely in reference to the half-witted taxidermist brother whose sinister green eyes are given enough close-ups to make Lucio Fulci proud.


The cover for the rare photo novel version of the film


A sample scan from the photo-novel showcasing Elsa’s gory fate


The green eyes alluded to in the photo-novel title


The film remained on the shelf for three years until it was submitted to the Italian censorship board and obtained a censorship visa in May 1976. It was now cleared for theatrical release but somehow it still took nearly one more year before the film finally premiered in April 1977. By now, the whole giallo craze had died down and this is probably why it was released under the title I vizi morbosi di una governante (translation: The morbid vices of a housekeeper), which sounds more like a sexploitation flick than a giallo. The film’s housekeeper does admittedly get it on with several of the male characters but this title nevertheless fails to really convey what type of film this is. In any case, it did poorly at the Italian box office. An English-dubbed version was never prepared and the film received very little release outside of Italy.


The titular housekeeper with morbid vices


In 1996, the film was rescued from obscurity by British video company Redemption Film, which issued it on VHS under the title Crazy Desires of a Murderer - in Italian with English subtitles. Redemption’s release featured a good-looking widescreen print but, unfortunately, 5 seconds of an eyeball carving was removed at the insistence of the Britsh Board of Film Classification. And once again the film fared poorly as Redemption apparently only sold around 150 copies.

The reasons for the film’s lack of success may initially seem puzzling as the plot sounds quite promising. It has most of the ingredients needed to make an enjoyable giallo but, unfortunately, it falls rather flat in its execution. Ambrogio Molteni's meandering script is probably the biggest problem. Molteni’s storytelling is annoyingly unfocused as he spends far too much time on the boring subplot about Pier Luigi’s troubles with the drug dealers he owes money to. In fact, the plot is full of irrelevant details that are brought up only to be dropped a few minutes later. Characterization is kept at a strictly rudimentary level (if that) and the characters display a surprising lack of interest in the fact that someone among them is a killer, although it’s possible that the many disinterested faces are simply a reflection of the actors’ lack of interest in the material. Not helping matters any is the sluggish pacing as well as Filippo Walter Ratti’s often lifeless direction.

But in spite of these faults, Crazy Desires possesses a quirky atmosphere that is strangely compelling in its own weird way, and it does feature a couple of notable plus points. The strongest card is probably Corrado Gaipa as the wry, old police inspector who walks with a limp. Gaipa, who appeared in everything from The Godfather (1972) to nazisploitation trash like The Red Nights of the Gestapo (1977), is a fine character actor and he puts in a good performance as the peculiar Columbo-style inspector. Piero Piccioni's moody score is another great asset, and the camerawork is not bad either - capturing some pretty stylish images along the way.


The excellent Corrado Gaipa as the peculiar police inspector


Stylish camerawork in the creepy basement


Another stylish shot - of the killer with the murder weapon in hand. Notice how the gloves are actually white for a change!


With the exception of Corrado Gaipa’s inspector, the actors are not really given much opportunity to shine but petite, catty-eyed French starlet Isabelle Marchall, who also appeared in the much better giallo The Crimes of the Black Cat (1972) and in the original Black Emanuelle (1975), is very cute and appealing as Ileana, and the lovely Patrizia Gori is always a pleasure to watch even though she is under-used in the role of the ill-fated Elsa. Marchall and Gori feature prominently in one of the film's most enjoyable scenes, which occurs during a salacious party game where some of the characters are mimicking movie scenes while the others try to guess the name of the movie. Marchall and Gori get down on the floor and start kissing and caressing each other, while the others are having a hard time guessing the right movie. “All movies have scenes like that now!”, one of them complains before another is finally able to guess that the movie in question is Alberto Cavallone's Le salamandre (1969), the first Italian lesbo-erotic film and a huge box office success. A very funny in-joke that gives the film extra points in my book.


Your typical Italian party game


The graphic eyeball removals are pretty well-done and provide some much-needed visceral thrills. It's just too bad that the film doesn't have more scenes of bloodletting or graphic sex because it could have livened up the proceedings and made up for the slow pacing. As it turns out, Ratti did actually shoot some very graphic and kinky sex scenes for the film but, unfortunately, they were deemed too extreme by the censors and thereby removed. Fortunately, these “naughty” sequences are present in photo-novel version printed in Cinesex Mese, so let’s have a look at what we are missing out on.

Firstly, the sex scene between Isabelle Marchall and Gaetano Russo is considerably more detailed than the brief sequence seen in the film. As seen in these scans, the session originally included cunnilingus:




...and some doggie style action:




Even more regrettable, however, are the cuts made to the sex scene between Patrizia Gori and Roberto Zattin. In the film, Zattin gets a kinky idea when he notices a big candle next to the bed and he proceeds to light it and start shaping it into a dildo while Gori grins and licks her lips in anticipation.



Suggestive kinkiness


But just as Gori turns over on her stomach and things are about to get more interesting, the scene cuts away. In the photo-novel, however, the scene goes much further as Zattin proceeds to fuck Gori with the burning candle while calling her a whore:



Love Italian style


The reason why these “forbidden” scenes are left intact in the photo-novel is because it was customary for the photo-novel publishers to receive copies of the films before they were sent to the censor board and any cuts were imposed. Hence, a lot of the photo-novels printed in the likes of Cinesex, Cinestop, Bigfilm and Topfilm feature racy scenes that are not present in the release version of the films. This is the case with The Iguana with the Tongue of Fire (1971), Frankenstein 80 (1972) and Sex of the Witch (1973) just to mention a few. But because there is so much else going on in those films, the removal of a few naughty bits doesn’t hurt them as badly as it does Crazy Desires. If there was ever a film that could truly benefit from the restoration of censored scenes then it is surely this one!


In the end I must say that Crazy Desires of a Murderer is not a very good film but nevertheless I find myself being fascinated by it. Maybe its troubled release history is why it appeals to me as I do find things like that very interesting. To be honest I’m not entirely sure of the reason as this is one of those films whose appeal is extremely hard to pinpoint. I cannot in good conscience recommend this film but I do think that true giallo fans should give it a shot.


© 2011 Johan Melle




The cast:


Corrado Gaipa as The Police Inspector


Isabelle Marchall as Ileana De Chablais


Roberto Zattin as Pier Luigi La Rocca


Gaetano Russo as Bobby Heston


Annie Karole Edel as Bertha, the housekeeper


Adler Gray as Gretel Schanz


Beppe Colombo as Frank Hoffmann


Patrizia Gori as Elsa Leiter


??? as Hans, the butler


??? as Leandro


??? as Baron De Chablais


??? as Dr. Olsen


??? as Moretti, the inspector's assistant

Lost film #4: Paura

Italy, 1972

Directed by Luigi Russo

Cast:
Rosario Borelli, Kai Fischer, Rosalba Grottesi, Patrizia Gori


Unfinished, unreleased or lost films have always intrigued me, and it is really interesting to try and piece together information about such projects. One lost film that is particularly fascinating is the thriller Paura (or Fear as it translates to in English), which was written and directed by little-known filmmaker Luigi Russo, who spent most of his career making various skin flicks such as the Blue Lagoon rip-off Blue Island (1982) with Sabrina Siani. Paura was Russo's directorial debut and it has never been released. Apparently, shooting was nearly completed but the was shut down when Russo ran out of money.

Due to its unavailability there is little information available on Paura but, fortunately, great Italian magazine Cinesex ran a piece on the film in early 1972. The article includes both pictures and a plot summary that helps give you an idea about what the film is like.

According to the plot summary in the Cinesex article, Paura opens in brutal fashion: a beautiful girl named Orsola is violently raped by three masked men. Orsola becomes pregnant after the rape and eventually gives birth to a deformed and grotesque son - a "monster". But in spite of his physical appearance and the circumstances under which he was conceived, Orsola loves her son and she wants to protect him from the gazing eyes of people who do not accept anything that is different. Hence, she takes her baby son and hides with him in the abandoned underground level of an old theater.

Cut to 20 years later. The "monster" is now grown up - having spent his entire life in the theater's abandoned underground level and never having seen other people than his mother. One day, however, an acting troupe consisting of four men and four women arrive at the theater to rehearse a play. Apparently, several of the actors are quite horny, and in between rehearsals they sneak off to look for isolated spots to have sex. Naturally, they end up in the theater's underground area and start to go at it without knowing that they are being watched by the "monster". Having never been exposed to sex before, the "monster" snaps after witnessing all the copulating, and starts killing the unsuspecting theater actors one by one.


From the plot description, Paura appears to be more of a horror movie than a giallo, and it sounds fairly bizarre. According to the Cinesex article, the killer only murders the men, whom he considers as sexual rivals (although he does kill one unfortunate woman too because her short hair made him think that she was a man!) and this is a rather unusual touch. The women figure prominently in the many sex scenes, though, and the Cinesex article includes several stills from a lesbian scene between the sexy platinum blonde Patrizia Gori and another unidentified actress. Below are some scans of this lesbian love scene:







The Cinesex article briefly mentions that Paura stars Richard Melvill, Kai Fischer, Rosalba Grottesi and Patrizia Gori, but it doesn't say anything about the roles they play. Let's take a little closer look at these four actors, though.


First off, Richard Melvill is actually a pseudonym that was used by Italian actor Rosario Borelli in a couple of early 1970s films.

Rosario Borelli as he looked in The Cynic, the Rat & the Fist (1977)

Borelli had been a popular leading man in the 1950s but when he got older he switched to directing and acting in violent photo-novels such as "Antar" and "Killing", and playing supporting roles in Euro-crime movies. At the time Paura was filmed, Borelli was in his mid 40s, so clearly it cannot be him who plays the monster (who is supposed to be 20). Presumably, he plays one of the actors - or maybe the director. No director is specifically mentioned in the plot summary but it seems likely that such a character could be present and it would fit Borelli age-wise.


Then we have Kai Fischer, a popular German actress known for numerous krimis such as Room 13 and The Monster of London City (both 1964), and Mel Welles' cult horror movie Man Eater of Hydra (1967).

Kai Fischer in a still from Room 13

Fischer was pushing 40 when Paura was made, so it seems like a fair guess that she plays the role of Orsola, the mother of the "monster".


Beautiful and likeable blonde starlet Patrizia Gori plays one of the horny young theater actresses, and she figures prominently in the pictures of the lesbian scene printed in Cinesex.

Patrizia Gori photographed by the famous Angelo Frontoni in 1973

Gori was just getting her career started when she appeared in Paura, and she seemed to be suffering from bad luck. Not only was Paura never released but her next film, the obscure giallo Crazy Desires of a Murderer (1973), was also shelved for several years. She soon found success, though, in sleaze classics such as Emanuelle and Françoise (1975), Cries and Shadows (1975) and Elsa Fräulein SS (1977), and was married for several years to porno director Franco Lo Cascio (a.k.a. Luca Damiano).


Also listed as a cast member is the gorgeous, raven-haired Rosalba Grottesi. Although she only appeared in a handful of films, Grottesi had enormous success as both leading ladies and femme fatales in photo-novels during the 1960s and 70s, and she would continue to play supporting parts in photo-novels up until her retirement in 2001.

Rosalba Grottesi in a photo-novel from 1973

Again, there is no mention about what kind of character she plays in the film but I think it is reasonable to assume that she plays one of the theater actresses.


This is pretty much all the information I've been able to dig up about Paura. As I've already mentioned, the shooting the film was apparently close to being finished and the footage is supposed to still exist. It has, however, never been edited or dubbed and, quite frankly, I find it highly unlikely that it ever will be after so many years. And that's a great shame because Paura sounds just like the kind of film I'd like to watch. It has some really cool actors, the plot sounds delightfully bizarre, and I imagine that the theater setting could be used to very atmospheric effect as it was in later films like The Killer Reserved Nine Seats (1974) and Stagefright (1987).

Cries and Shadows/Un urlo nelle tenebre

Italy, 1975

Directed by Franco Lo Cascio

Cast:
Jean Claude Vernè, Patrizia Gori, Mimma Monticelli, Françoise Prévost, Richard Conte, Sonia Viviani, Filippo Perego, Franco Garofalo, Elena Svevo, Giuseppe Tallarico, Giangiacomo Elia

Not surprisingly, the enormous worldwide success of William Friedkin’s landmark horror film The Exorcist (1973) led to a slew of rip-offs that tried to cash in on Friedkin’s film. Italian producers, in particular, churned out several knock-offs that include The Antichrist, Beyond the Door and The Eerie Midnight Horror Show (all 1974). But the Italians also gave us another Exorcist clone named Cries and Shadows, which continues to remain far more obscure than the other Italian exorcist films. The English language title seems to play off on Ingmar Bergman’s Cries and Whispers (1972) but don’t let that worry you. The reason for this film’s obscurity isn't because it's too artsy, but rather because it’s a super-cheap rip-off of the most blatant sort imaginable. Well, they do say that imitation is the sincerest form of flattery but somehow I doubt that William Friedkin was particularly flattered by this film, which not only shamelessly rips off his film but also adds a large chunk of filth and sleaze to the proceedings. But that’s not to say that it doesn’t have its charms. Far from it actually.

The plot deals with a goofy-looking teenage boy named Peter (Jean Claude Vernè), who has a colossal mullet.

Our boy Peter

One day, Peter is going for a walk in the woods with his friends when he suddenly spots a buff naked redhaired woman by a waterfall. Stunned by the sight, Peter quickly whips out his camera and snaps some pictures of the naked lady. When his friends catch up with him, Peter eagerly tells them about his lucky sighting but they all laugh him off and dismiss his story as fantasy.

The lady by the waterfalls

Later, Peter gets the photos from the waterfall developed and is puzzled when the naked woman isn’t visible in any of them. He decides to go back to the waterfall – presumably hoping that the woman will still be there, which of course she isn’t. Peter does, however, find a strange-looking amulet in the water. Even though the amulet is depicting an inverted cross, Peter proclaims it as "my special lucky charm" and hangs it around his neck.

Peter's "special lucky charm"

It turns out that using the amulet as a lucky charm is a pretty bad idea, though, as it doesn’t take long before Peter’s behavior starts to get strange and erratic. This is demonstrated to us in a hilarious scene depicting the 18th birthday party of Peter’s annoying girlfriend Sherry (Sonia Viviani), where Peter pops open a champagne bottle and then proceeds to squirt the champagne over Sherry. This deeply shocks all of the guests – especially Sherry, who reacts by screaming hysterically and running away from the party.

Champagne shocker

Anyway, things really escalate one night when Sherry goes to a disco with some of her friends while Peter sits at home sulking in his room. None too pleased with his newfound "good luck charm", he tosses the amulet on the floor in anger. But no sooner has he thrown away the amulet before the naked, redhaired woman from the waterfall appears on his bed – only now she has a dress on. The sexy lady puts on a real temptress routine by licking her lips seductively and pulling her dress up.

The redhaired tease

What follows is without doubt the coolest moment in the film, as Peter reacts by jumping her and slashing her throat with a knife (as you do), and at the very same time, Sherry’s throat is inexplicably slashed open while she’s dancing in the disco!!! She slumps bloodied and dead to the floor while the rest of the disco patrons look on in horror.

Sherry really turns some heads on the dance floor

From hereon, Peter starts to really act weird. It seems that the sexy redhead is really some sort of demon and Peter gets possessed by her. But he’s not just possessed – every now and then he even morphs into the naked lady demon, and then proceeds to attack and sexually assault his own mother (Françoise Prévost)! With things spiraling out of control, Peter’s sister Elena (Patrizia Gori), a missionary nun living in Africa, returns home to help her poor brother. Doctors diagnose Peter’s problems as "hysteria" and recommend putting him in an asylum but Sister Elena, of course, has a different idea. According to her, Peter is possessed and a good old-fashioned exorcism is what’s needed to fix the problem...

Although direction of the film is credited to Angelo Pannacciò, the man behind the wonderful Sex of the Witch (1973), the real director was actually Franco Lo Cascio, who had served as an assistant director on a number of Fernando Di Leo films and who in the 1980s would end up as a prolific director of hardcore porn. As expected, Lo Cascio’s foray into... erm... "serious" filmmaking doesn’t exactly amount to a particularly good film in the traditional sense of the term. There’s not much originality on display here, with the climatic exorcism ripping off The Exorcist down to the smallest detail. Throughout the film we are also served the expected obscenity-spouting, vomiting and flying furniture.

Flying furniture, hysterical nuns and a cursing mullet teen make for a fun Euro-schlock

Lo Cascio’s additions to the familiar storyline come mostly in the form of added sleaze and nudity; throwing in a black sabbath that ends in a big orgy and plenty of action involving the naked lady demon. The most over-the-top stuff are of course the scenes where Peter transforms into the female demon and sexually assaults his mother and sister – thereby managing to give us incest, lesbianism and nunsploitation (in the case of the sister) all at the same time. It’s so mind-boggingly tasteless and filthy that only the Italians could have come up with it, and I have to admit that it really is quite delightful to just sit back and watch something that is so unpolitically correct. The attack on the nun-sister is particularly off the wall, with the demon telling the poor nun that: “You’re a bitch in heat! Your genitalia is mine!”

Fun at the sabbath

Nuns need luvin' too

While all the sleazy moments are highly enjoyable, the film actually has a few genuinely well-made sequences too, with Sherry’s gory demise on the disco floor being the most memorable. But a hallucination scene where Peter follows the demon through a seemingly abandoned village is quite eerie, too. In fact, all the locations used in the film are effective and, together with a nice musical score, they lend some atmosphere to the proceedings. Trivia buffs may take note of the fact that the location where Peter first spots the naked demon lady is the famous Monte Gelato waterfalls, which has been featured in countless Italian films, including They Call Me Trinity (1970), Torso (1973), The Inglorious Bastards (1977), Ator the Fighting Eagle (1982) and many others.

Peter at the Monte Gelato waterfalls

Also worth mentioning is the weird scene where Sister Elena refuses to let Peter’s doctor admit him to an asylum because she herself has had some horrifying experiences in an asylum. We’re then shown some bizarre, grainy clips of people having a miserable time in an asylum. The whole thing feels completely out of place but it certainly manages to grab one’s attention.

Weird asylum scenes

But while the above sequences work well, the rest of the film contains a lot of clumsy passages that frequently lapse into unintentional hilarity. The scene where Peter squirts champagne on Sherry at her birthday party is the most obvious example. I realize that the filmmakers wanted some kind of social setting to demonstrate that Peter’s behavior is starting to become creepy. In The Exorcist, we got a scene where the possessed girl pees on the carpet in front of her mother’s dinner guests, which really does give you the feeling that something is not quite right with her. But, needless to say, squirting some champagne on your girlfriend isn’t quite in the same league! It just seems so harmless, and this – coupled with Sherry’s overly hysterical reaction – makes the scene very absurd. It’s hard to not laugh out loud at the whole thing.

The film’s narrative, too, is constructed in a rather laughable way. It actually begins with a possessed Peter lying tied to his bed, and then the back story of how he became possessed is told in flashbacks as Sister Elena describes the events to a priest. None of this makes much sense considering the fact that Elena wasn’t actually present to witness any of the events she is describing. The scene where she talks about "that terrible day" when Sherry was killed at the disco doesn’t make any sense at all since there’s no possible way she could know that Sherry’s death was brought on by Peter’s slashing of the female demon’s throat.

Oh, and let’s not forget the acting! The film’s top-billed star is Richard Conte, an American actor of Italian heritage who had a long and successful Hollywood career. After appearing in Francis Ford Coppola’s The Godfather (1972), Conte spent the remainder of his career in Italian films – mainly in crime or cop flicks – before dying of a heart attack in 1975. Conte’s performance here as the exorcist was actually his second-to-last film role and he died a few months before the film hit theatres. In spite of his top-billing, Conte’s role is rather brief and he doesn’t get to do much expect hold up a crucifix while quoting some bible passages – all the while looking suitably embarrassed. It’s quite surprising to see Conte reduced to appearing in such low-grade trash just three years after The Godfather, and definitely a sad end to the career of such a solid actor.

Richard Conte puts an embarrassing end to his long acting career

Also wasted is the attractive French actress Françoise Prévost as Peter’s mother. Prévost is an accomplished and versatile performer who switched between working in more serious films and in various genre efforts like The Murder Clinic (1966) and The Sinful Nuns of St. Valentine (1974), but she gets very little to do here except in the scenes where the female demon attacks her and rips open her nightgown. Hardly a career highlight for her.

Of course, the real "star" of the film is Jean Claude Vernè, the (presumably French) actor who plays Peter. He only appeared in a handful of films and while he doesn’t seem to grasp the concept of acting at all, his grossly exaggerated facial expressions and amazing hairdo makes him a lot of fun to watch as he switches between freaking out, getting naked, shouting obscenities or squirting champagne.

The only performance that can actually be said to be any good is that given by the director’s wife at the time, the lovely and underappreciated Patrizia Gori as Peter’s sister. Gori has a pretty expressive face and is very good at instilling sympathy for the characters she plays, as evidenced by her strong performance in Joe D’Amato’s excellent Emanuelle’s Revenge (1975). I also like how she looks very different in nearly all of her films – having started out as a platinum blonde, then switching to brunette, and for her role in this film she actually shaved herself bald.

Patrizia Gori delivers the goods as always

While the rest of the actors don’t exactly shine, there are some welcome familiar faces in place here, including Bruno Mattei favorite Franco Garofalo from Hell of the Living Dead (1980) and The Other Hell (1981) as the guy conducting the black sabbath at the start of the film, a very young Sonia Viviani as Peter’s idiot girlfriend, and even dear, old primitive-looking Salvatore Baccaro of The Beast in Heat (1977) infamy puts in an uncredited appearance as a briefly seen participant at the black sabbath. Oh, and Mimma Monticelli may not be a very well-known actress but believe me when I say that her appearance as the naked demon will keep your eyes constantly glued to the screen.

In short, Cries and Shadows isn’t exactly a good film but its daftness nevertheless adds greatly to the overall package, and it succeeds in creating a near perfect balance between unintentionally funny rubbish, jaw-dropping tastelessness and occasional moments of surprising effectiveness. If you’re in search of a trashy Italian flick to keep you entertained then look no further!

© 2009 Johan Melle

The cast:

Jean Claude Vernè as Peter

Patrizia Gori as Sister Elena

Mimma Monticelli as The Demon

Françoise Prévost as Barbara, Peter's mother

Richard Conte as The Exorcist

Sonia Viviani as Sherry

Filippo Perego as The Priest

Franco Garofalo as The Black Sabbath Leader

Elena Svevo (a.k.a. Elisabeth Tulin) as Anna

Giuseppe Tallarico as The Doctor

Giangiacomo Elia (a.k.a. John Ely) as The Police Inspector

Salvatore Baccaro as A Black Sabbath Participant