La notte che Evelyn uscì dalla tomba
The Night She Arose from the Tomb
The Night That Evelyn Left the Tomb
The beautifully titled The Night Evelyn Came out of the Grave is an unusual and distinctive giallo from Emilio Miraglia. Miraglia only directed six films, but his two contributions to the giallo cycle (the other being The Red Queen Kills 7 Times ) are unusual for their foregrounding of the supernatural. But the supernatural never becomes more than a storytelling device, a sophisticated red herring which acts as a suitable peg upon which to hang the principle themes of obsession, mental illness, and sexual perversion. The supernatural elements work extremely well with a visual style that bathes the film in gothic atmospherics. The sumptuous production design and art direction of Lorenzo Baraldi is a key element of this strategy, and his efforts to extend the decadent perversions of the central character to the principal locations of the film adds immeasurable depth to the proceedings. The Cunningham estate is an excellent space with which to play out this tale of death, decay, sexual depravity, blackmail and moral emptiness. The castle is a schizophrenic space which dramatises a clash between chic interior design and kitsch modernity and the cold stone walls and corridors of a gothic past. It also offers a metaphor for the mental fragmentation and fluctuating psychology of the central character Sir Alan Cunningham (Anthony Steffen).
Pevert aristocrat Sir Alan Cunningham (Anthony Steffen) and his wife Gladys (Marina Malfatti)
Sir Alan shows an unfortunate hooker how he likes to spend his evenings.
© Shaun Anderson 2011