DEATH SMILES ON A MURDERER: STYLISH GHOST STORY

There are fans of Joe D’Amato around the world, mostly for the horror films that he crafted and some for the pornographic films he made. With over 197 movies credited to him as director the man was at least industrious when it came to making movies. Not having seen most of this films and with only access to a few I was interested to see what this one would be like. The end result was mixed for me.

The film opens with in Austria in 1906. A young Greta von Holstein (Ewa Aulin) is sexually abused by her brother Franz (Luciano Rossi). We learn this in the opening moments of the film before we see Greta laying on a slab and apparently dead as Franz laments her passing, blaming himself and others like him.

Fast forward to 1909 and the estate of Walter Ravensbrück (Sergio Doria) and his wife Eva (Angela Bo). An out of control carriage overturns in front of the estate impaling the driver and killing him with a young woman named Greta von Holstein inside. Injured they take her up to their home and call Dr. Sturges (Klaus Kinski) to attend to her. Noticing something strange about her he tends to her wounds while noticing a strange amulet around her neck. Suggesting she rest and mend the couple ask her to stay with them for a while.

This leads to an attraction that both feel towards Greta. Walter is the first to act upon this, beginning an affair with her. But Eva isn’t far behind doing the same. Unaware to both is the fact that Greta begins killing off the help that they employ.

Greta becomes jealous of the attention Walter pays to Greta and while he’s away she walls her into a room in a remote cellar of the estate. When Greta turns up at a masquerade ball later, she realizes that perhaps Greta was not what she seemed. All of this ties into the past when Walter’s father arrives for a visit. Dr. von Ravensbrück (Giancomo Rossi Stuart) has his own connection to Greta that no one is aware of. All will be revealed by the end of the film.

The movie does offer some stylish cinematography and depicts what could have been considered sordid encounters at the time of its release in an artistic manner. The use of soft focus cinematography in select sequences adds itself to the air of romance combined with mystery. And yet all of that combined didn’t convert me to become a fan of D’Amato.

This was the first film that he directed under his real name, Aristide Massaccesi and made early in his career. For me it showed a lot of potential in film making with this film but at the same time his story telling ability was really off here. Characters and concepts that become clear only at the end of the film are never provided earlier when they would have helped create a bit of suspense or given viewers an idea of what was going on. Instead we have a movie that tosses in murders and situations that make absolutely no sense whatsoever. The biggest example is why Greta would have a reason to even come to the Ravensbrück estate. That reason isn’t revealed until almost the final scene and no clues as to the reason are provided throughout. And the fact that this is a ghost story isn’t quite clear until late in the film either, once more with no clues to that fact provided until that time.

Kinski’s part here is minimal at best and one I would consider a cameo in spite of the fact that his image and famous face were used to promote the film in posters at the time and on the cover of this new release. Aulin would go on to fame and fortune for her stunning looks and will probably be most remembered for her starring role in the counter culture hit CANDY.

Historically there is always a reason to preserve any and almost all films ever made. That would be one reason for this to be a reason to be glad that Arrow has done the amazing job with this release like they always do. The movie is presented here with a 2k restoration from the original camera negative. Extras include a new audio commentary track with writer/critic Tim Lucas, D’AMATO SMILES ON DEATH an archival interview where the director discusses the film, ALL ABOUT EWA a newly filmed interview with the Swedish star, SMILING ON THE TABOO: SEX, DEATH AND TRANSGRESSION IN THE HORROR FILMS OF JOE D’AMATO a new video essay by critic Kat Ellinger, the original trailers, a stills and collections gallery, a reversible sleeve with original and new artwork from Gilles Vranckx and for the first pressing only a collector’s booklet featuring new writing on the film by critics Stephen Thrower and film historian Robert Curti.

D’Amato fans will want to add this to their collections immediately. Those who haven’t been exposed might find the movie of interest. Horror fans will want to give it a look. For most others you’ll find it confusing but at least it will provide you with a glimpse of a movie outside of the mainstream that led to a long time career for its director.

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