The Torture Chamber of Dr. Sadism (1967)

I have written elsewhere about my longtime love for redheaded Italian actress Lucianna Paluzzi, who captivated this viewer back in 1965 by dint of her portrayal of S.P.E.C.T.R.E. agent Fiona Volpe in the James Bond outing "Thunderball." Two years later, another redheaded S.P.E.C.T.R.E. agent also caught my fancy: Helga Brandt, Agent No. 11, in the Bond blowout "You Only Live Twice." Brought to indelible life by German actress Karin Dor, she remains, 45 years later, one of the sexiest of the Bond "bad girls," and her death in archvillain Blofeld's piranha pool is a 007 classic. Well, despite admiring Dor's performance in this film dozens of times over the years, I have been hard pressed to see her in anything else, other than Alfred Hitchcock's 1969 film "Topaz," in which she plays Juanita de Cordoba, the widow of a Cuban revolutionary...and a brunette, to boot. A happy day for me, then, when I found a DVD containing Dor's next film after "You Only Live Twice," 1967's "Torture Chamber of Dr. Sadism."This German production opens with a scene strongly reminiscent of one to be found in Mario Bava's 1960 classic "Black Sunday," with the Count Regula (played by Mr. Tall, Dark and Gruesome himself, Christopher Lee) getting a spike-studded demon mask impaled into his face, prior to being drawn and quartered. (Barbara Steele, in the Bava film, had had a similar mask sledgehammered into her face before being burned at the stake.) Regula, it seems, had been convicted of slaying 12 virginal girls for their blood, with which he'd hoped to concoct an immortality potion, and before his sentence is carried out, he swears to take vengeance on his accusers. Flash forward 35 years, and hunky dude Roger Mont Elise (Rex Barker) and the Baroness Lilian von Brabant (our Karin, 29 years old here), strangers to one another, meet on the road en route to the Count's castle, to which they have both been mysteriously summoned...."Torture Chamber of Dr. Sadism" originally appeared under the title "Die Schlangengrube und das Pendel," or "The Snake Pit and the Pendulum," and as the film's credits DO reveal, it was (very) loosely based on Edgar Allan Poe's 1842 story "The Pit and the Pendulum." It is a remarkable film in many ways, but perhaps most especially for its incredible art direction and set design. The 19th century villages in the film's opening sequences look absolutely authentic, and Regula's castle is a thing of ghastly and dreary beauty. Frescoes from Hieronymus Bosch's "The Garden of Earthly Delights" decorate its walls, weird sculptures are placed everywhere, a corridor of skulls adds an aura of even greater menace, while vultures, scorpions and tarantulas flap and scurry about in abundance. It is all a total triumph for set decorator Gabriel Pellon. Even more remarkable, perhaps, is the dreamlike, surreal carriage ride through a nighttime forest before the castle is even reached. Arms and torsos of naked mannequins sprout from the surrounding trees, while hundreds of figures hang in effigy from the limbs in the fog-shrouded moonlight. Kudos to Austrian director Harald Reinl for bringing this sequence home in such an effective manner. (Reinl, it might be added, had been married to Karin since 1954 despite being 30 years her senior, and would divorce Karin the following year. As it turns out, he should have stuck with her, as he was ultimately stabbed to death by his later wife in 1986!) The picture, true to its title, features several sequences of startling torture; nothing like what is to be found today in films such as "Saw," but rather torture that is, uh, fun to watch. In one scene, Lilian's maid, Babette, is suspended over a bed of knives; in another, Mont Elise is strapped under a razor-edged, swinging pendulum in a rat-infested dungeon; and in still another, Lilian stands on a slowly retracting ledge above the titular snake pit (and a high fall into a nest of vipers would certainly be as bad as being dunked into a piranha pool!). Great, ghoulish fun! Barker and Dor, it must be said, play their parts absolutely straight, and make for a very handsome couple, ultimately. As for Lee, well, he is absent, after that grisly opening scene, for the next hour or so, but his resurrection and gray-visaged, corpselike appearance should certainly linger in the viewer's memory. Some other items to enjoy in this truly outrageous film: the sometimes jazzy, sometimes outre, sometimes goofy/non sequitur music provided by Peter Thomas; the deliciously evil performance by Carl Lange as Regula's assistant, Anatol; and still another tasty performance, that of Vladimir Medar, as the jovial "Father" Fabian. For this viewer, however, seeing Karin Dor in one of her difficult-to-see film appearances was worth the price of admission alone. And even more good news for me: I have just learned that a 1963 Dor picture, "The Strangler of Blackmoor Castle" (also directed by Harald Reinl), has finally made it to DVD. Guess I'll be heading in that direction soon....

Christopher Lee hams it up in blue-face in this odd little German horror film that tries to imitate the Hammer Films of the time and presents the audience with few saving graces. One of those is the photography, which is pretty interesting even in a public-domain over-saturated DVD print.An interesting aspect I noticed was that the effects shots in the forest, which are the most compelling visual aspect of the film, seem to have been done later and quite a bit more weird than the script must have implied. The guy who is the coachman (Dieter Eppler) stops the coach and complains about 3 crows, not seeming to notice all the disembodied hands and arms also sprouting quite clearly from the trees.As with many of Lee's horror films from this period, his appearances are brief. Most of the action goes to former Tarzan actor Lex Barker, a stunningly poor actor who wears every emotion the director gives him on his sleeve. Gorgeous Karin Dor does just what the film asks of her and nothing more. Vladimir Medar provides an ongoing irritating presence as the faux-priest who is obviously a highwayman (this gives Barker a chance to raise his eyebrows in doubt, which apparently is supposed to make him seem intelligent).There are many amusing bits that make this watchable in a "so bad it's good" kind of way. We were particularly amused by the inappropriate MOR music that would play whenever the group was traveling around in the carriage.The ending of the movie provides excuses for G-rated exploitation as half-dressed "virgins" are seen in various torture poses. The whole device with the cross is one of the most obvious and stupid endings in history, just a cliché. This film would barely hold the audience down in a double feature. All the "scare" elements are typical too -- "oh look, a rat!" "Oh look, a bunch of snakes! How gross!" -- designed perhaps to get girlfriends to make the perfunctory move into their boyfriends' arms at the drive-in. This is lazy storytelling (notice how Medar's character continually runs away for no reason and reappears also for no reason with whatever information the other characters need) and lazy film-making and I would have been angry if I had spent more than $1 for the film.

Just as the German krimi of the 60s proved to be a big inspiration for the Italian gialli, this film is in turn inspired by the 1960s Italian Gothic horrors (perhaps best exemplified by Mario Bava's Black Sunday). Like Black Sunday, this film concerns an executed practitioner of the black arts returning from the dead to get revenge on the descendants of those who executed them. In this case it is Christopher Lee rather than Barbara Steele, and thankfully he dubs himself.Like the films of Bava, this is filled with moody photography and baroque, Gothic visuals (such as a forest filled with corpses, a hallway lined with skulls, and walls painted with Boschean landscapes). It is difficult to judge how great the photography itself was in relation to Bava's, since the print was so poor, but the direction was definitely as competent. None of the characters were particularly interesting except for Fabian, a highwayman disguised as a priest suffering from major Falstaff syndrome. The man even resembles the Orson Welles incarnation of the character, so I can't help but wonder if it was intentional. The film is pretty entertaining for the most part, and doesn't suffer so horribly from its dubbing like many films from the period do. It is only during the pendulum sequence that I found myself getting bored. While it had not been at the time, the sequence has been done to death, and it always ends the same way: hero comes up with a clever plan and escapes just as the blade gets driven into the ground. Maybe they could've shaken things up by having the hero get sliced in two, and had the poor man's Falstaff save the day!So all in all not a particularly significant Euro-horror entry, but it benefits from some awesome visuals, one amazing character, and an occasionally effective score (though it sometimes lapses into some painfully inappropriate and thus hilarious "happy-go-lucky" music). Personally I'm just glad to have finally seen it after reading about it for all these years!

We see Christopher Lee as Count Frederic Regula, who used the blood of 12 virgins for his experiments. He is drawn and quartered but not before swearing vengeance on the descendants of the Judge and the woman who escaped and turned him in.Now, we come some years later, Roger Mont Elise (Lex Barker) has come to claim his inheritance. He is joined on his journey by a somewhat randy priest, Father Fabian (Vladimir Medar), and a young woman, the the beautiful Baroness Lilian von Brabant (Karin Dor) and her servant Babette (Christiane Rücker). They were travelling in a separate coach that was beset upon by robbers, who took their horses.The setting near the castle is surreal, with body parts seemingly growing out of the trees.Carl Lange as the Count's servant was particularly good. Lee, himself, was particularly evil in his appearance. Karin Dor did this film the same year as she was a Bond girl in You Only Live Twice. The art direction was excellent in the castle, with many strange paintings, and the cinematography was superb. The buzzards in the castle were a nice touch, as were the scorpions and spiders and snakes. Roger's escape from the pit with the pendulum can only be described as miraculous.