SATAN'S BABY DOLL
La bimba di Satana
June 29, 1982
In the crypt of the remote castle of the Aguilars lies the recently-deceased body of Maria. Her husband Antonio is a jealous bully, his mute brother Ignazio is in a wheelchair peeping on his caretaker Sol, a novice. Also present are Miria, the couple's virginal daughter, and Isidro, a factotum who fears Satan's power. A frequent visitor is Juan Suarez, a doctor who wants Miria in a sanatorium for a month. She doesn't want to go. Isidro tries to exorcize the castle's evil spirits. Bodies pile up. Is Miria's mother truly dead, and who is Satan's tool?
Directors
Cast
Crew
Screenplay:
Gabriele Crisanti (Story) — Piero Regnoli (Screenplay)
Music:
Nico Catanese (Original Music Composer)
Cinematography:
Franco Villa (Director of Photography) — Angelo Lannutti (Director of Photography)
REVIEWS (1)
This terrible film by the director of “Bravo Bravissimo” (the annual talent show hosted by Mike Buongiorno) is one of the most trash films in cinema history. Initially conceived as a remake of “Malabimba” (1979) by Andrea Bianchi, in this film we abandon the theme of demonic possession and instead deal with a group of 7 (and I say 7) minor actors who die one by one. The killer is a wealthy Spanish gentleman (Aldo Sambrell) who suspects that his deceased wife (Marina L. Hedman) had sexual relations with all the inhabitants of the castle where she lived, including the novice (Mariangela Giordano), in a crescendo of ridiculous and semi-pornographic situations (the nun in white stockings who masturbates). The ending is poetic: all of this was conceived to save the purity of the daughter Miriam (Jacqueline Douprè), who, however, happily enjoys herself with the father, the deceased mother, and her right hand. Only a decent direction by Bianchi and the soundtrack, more pornographic than horror, by Nino Catanese are saved.
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