Rating: 
Summary: A great film starring Jane and Peter Fonda
Review: Spirits of the Dead" is a movie based on the horror tales
written by Edgar Allan Poe and it features a barrage of movie stars who were just starting out in the business in one of their most unseen great performances in our time. Seeing as this was an International Film done in Europe (movie
features English subtitles) it's no wonder why too many people in US haven't seen it, its a shame because it's a real good movie.
The film features early stars such as Jane Fonda (Barbarella, Klute and many great classics), Peter Fonda (Easy Rider), Terrence Stamp (Superman 2) , Brigitte Bardot (International Sex Symbol and great actress who retired at age 39) in absolutely astonishing roles based on the tales of Edgar Allan Poe. The film is divided into three tales "Metzengerstein",
, "William Wilson", and "Toby Dammit". All three tales are wonderfully directed by the three great directors: Louis Malle, Federico Felini and Roger Vadim.
The first tale stars Jane Fonda as Contessa Frederica
a rather cold hearted and sick individual that despite her
beauty derives pleasure from deceiving others and inflicting
pain. When she meets Baron Wilhelm (Peter Fonda). She attempts
to change her ways, however the Baron is not interested in Contessa. What results is a mixture of a tale involving
revenge and supernatural as although Contessa fuels her need for revenge , she pays a price at the end. The last scene in this tale directed by Roger Vadim is rather excellent, showcasing the interesting visual techniques that showed Vadim's brilliance at the time.
The second tale entitled "William Wilson" is probably the tale I liked the most, since it was a tale about an intense rivalry and jealous between one individual and another that would end until someone's demise. It stars Alain Delon a disturbed , young boy, whom like Contessa Frederica is a rather nasty piece of work, even worse so. It seems that young Wilson is a rather insecure , young brute, whom to establish himself decides to manipulate become violent with those weaker than him, like a dictator shown in early scene where Wilson at age 10, aids his fellow crappy tale I liked the most, since it was a tale about an intense rivalry and jealous between one individual
and another that would end until someone's demise.
It stars Alain Delon a disturbed , young boy, whom like
Contessa Frederica is a rather nasty piece of work, even worse so. It seems that young Wilson is a rather insecure , young brute (whom reminds of a certain white trash individual in Kansas lol), whom to establish himself decides to manipulate become violent with those weaker than him, like a dictator shown in early scene where Wilson at age 10, aids his fellow crappy recruits in abusing a young child by draping in a barrel full of rats.
Wilson's fun days of brutality are over though, as a young boy steps forward and stops the abuse. When our little misguided fool confronts the boy, he is shocked to learn that the boy's name is also "William Wilson" and that the boy looks like himself!! From here on out, every attempt at crime and brutality
by the evil Wilson is stopped by the good Wilson. It's absolute hilarity and a battle of wits as no matter how hard he tries to hurt someone (including trying to surgically perform surgery
on a live patient) as the evil Wilson is stopped by his good counterpart. The end is very fitting, but it's not quite the end, you might expect. Not to spoil the tale by saying anymore , "William Wilson" directed by Louis Malle is one of his best efforts.
The last tale of Edgar Allen Poe to be adapted to the screen is "Toby Damnit" changed from the original title "Never Bet the Devil Your Head" is also an interesting tale although it times it can hard to watch for the fact that Terrence Stamp's
character of Toby is utterly annoying.
However Spirits of the Dead is a masterpiece as another person, I am surprised other so called movie critics with no credibility but who are "advisors" on other sites haven't reviewed it.
Rating: 
Summary: Handsomely mounted, only slightly scary horror
Review: Spirits of the Dead, a handsomely mounted 1967 film that features three segments from three European giants (Vadim, Malle, and Fellini) all based on Edgar Allen Poe short stories. The third segment, Fellini's Toby Dammit, is so incredibly different and dense when compared to the other two that you almost forget you've watched an anthology by the time the film ends. His work here is as good as he's ever been visually, and the world that he creates perfectly represents the inner turmoil of the self-destructive actor Toby Dammit (Terrance Stamp). The director presents his typical circus or parade; whichever you want to call it, and this time it shows the world of the celebrity in modern day Rome. It's obviously been liberally adapted from the original Poe story, and it's only nominally a horror tale (Toby is stalked by a Björk-ish devil figure), but the film transcends any generic or authorial labels: it's purely Fellini's, and at a little over forty minutes long it doesn't burn out the audience in the way that his longer pageants tend to. The other two segments are certainly solid, even if they might not top Fellini's work with sheer panache. Vadim's piece is the better of the remainder, and it features Jane and Peter Fonda as feuding cousins. This is the most overtly supernatural segment of the trio, and even it feels somewhat subdued when compared to modern ghost stories. Jane Fonda is excellent in her role, and she brings a combination of refinement and haughtiness to the part that vitalizes the character. Like all of the film, this bit of the film is well shot, but Vadim's captured some gorgeous outdoor scenery, whereas the others take place mostly indoors. The tale itself is spooky enough, and the running time feels sufficient. The only real negative mark here is that the film resorts to a slightly jarring voiceover narration here to fill in background details. Malle's segment is likable enough, but it feels somewhat slighter than the other two. Its gambling scene evokes Kubrick's Barry Lyndon (just as the driving sequences in the Fellini segment recall A Clockwork Orange), even if Spirits was made several years earlier, and there is genuine tension aroused at the card table. Throughout the film, there is a relatively low gore quotient, and the acting is uniformly solid. As far as psychological horror goes, the films work well, and that they realize Poe's stories were mainly internalized distortions of the world works to their advantage, even as they approach the material in vastly different ways.
Rating:
Summary: Toby Dammit is great, despite overdubs
Review: The best story here is Toby Dammit. At first I was very annoyed that they overdubbed Terence Stamp's voice with some french actor's voice. But I think that's only because I'm so used to hearing Stamp's distinctive voice when I see his face. That soon melted away and I couldn't have enjoyed the story more (although I still think they should have left Stamp's voice alone). This is actual art on screen. It's both surreal and intensely real at the same time. The devil as a little blonde girl freaked me out... This is another great piece of work from Fellini. Worth my money.
Rating:
Summary: Toby Dammit is great, despite overdubs
Review: The best story here is Toby Dammit. Fellini does a great job. At first I was very annoyed that they overdubbed Terence Stamp's voice with some french actor's voice. But I think that's only because I'm so used to Hearing Stamp's distinctive voice when I see his face. But that soon melted away and I couldn't have enjoyed the story more (although I still think they should have left Stamp's voice alone). This is real art on screen, and not just in an abstract way, but in a way that's both unreal and intensely real at the same time. The devil as a little blonde girl freaked me out... This is another great piece of work from Fellini. Worth my money.
Rating:
Summary: The atmospheric "Toby Dammit" segment is really the only rea
Review: The first segment with Jane and Peter Fonda is like "Barbarella" with a horse. It is interesting to see, if you have only seen "Spirits of the Dead" on many commercial television stations that only show the last two segments. The "William Wilson" segment reminds me of "The Fall of the House of Usher". Bright colors, kind of cheesy, should be shown in high schools. The "Toby Dammit" segment (my first taste of Fellini) is hypnotic, creepy, surreal. You will never look at a young angelic blond girl the same way again. *****
Rating: 
Summary: The last on "Toby Dammit" is a short in itself
Review: The first two in the detached trilogy are forgettable but the last one directed by Fellini is a classic, at first I thought it was Terrance Stamp and then I found out it was and I like him even more now. His performance is classic and the short is actually quite creepy rendition of Poe's "Don't lose you head" If I was a film student I would pay attention to this one. Hey Jane Fonda was pretty cute in her time, nevertheless the short with her was pretty bad and kind of dull, the second one was better though. Overall: good late night fright film with Fellini saving this film.
Rating:
Summary: Five Stars for "Toby Dammit".
Review: There really is only one reason to watch this film and that is Fellini's "Toby Dammit". Terence Stamp takes the title role of an actor arriving in Italy to appear is some kind of weird religious western. He is at the end of his tether and all seems alien and disorentated to him. The Edgar Allen Poe story from which this segment is adapted from is called "Never wager your head to the Devil" and thats exactly what he does! All with the usual Fellini touch of class. Excellent.
Rating:
Summary: Five Stars for "Toby Dammit".
Review: There really is only one reason to watch this film and that is Fellini's "Toby Dammit". Terence Stamp takes the title role of an actor arriving in Italy to appear is some kind of weird religious western. He is at the end of his tether and all seems alien and disorentated to him. The Edgar Allen Poe story from which this segment is adapted from is called "Never wager your head to the Devil" and thats exactly what he does! All with the usual Fellini touch of class. Excellent.
Rating:
Summary: Fellini Makes Films Like My Dreams--Exquisite Bliss
Review: These three short films, loosely adapted from stories by Poe, are all packed with stunning landscape and exquisite set design. However, only Fellini's film manages to create a story worth retelling in its own right. The first film is Roger Vadim's "Metzengerstein". The best thing I can say about it is that the gorgeous horse was the most effective actor in it. He knew his lines, and nodded when appropriate. Jane Fonda plays Contessa Frederica, an occasionally sadistic libertine who develops a passionate romantic attachment to the aformentioned horse. She is wondefully cruel and gorgeous, making the most out of some truly inspired little outfits. The segment is filmed by Claude Renoir, who captures some stunning images breathtaking beauty. Again, the scenes with the horse galloping and cavorting with Frederica are rather intoxicating. The story itself, however, is sacrificed on the alters of atmosphere and aesthetics. The end result is a very empty film. Louis Malle's "William Wilson" basically has two really excellent scenes that make this worth watching. The first is a simple send-up of an autopsy. Wilson is demonstrating for his fellow Medical School classmates, the proper introductory procedure for performing an autopsy. Except, where his instructor had used the corpse of an old man--Wilson had bound a lovely, living lass and is preparing to dissect her. The other great scene involves Brigitte Bardot. Throughout this film, Bardot is unflatteringly coiffed in a black wig that is pulled back in a rather schoomarmish fashion. Her eyes are seductive, but she doesn't demand the kind of camera worship she has so often received in other films. However, the hair comes down and Bardot is soon being subjected to Wilson's birch rod. Her face, hair, and the slashes on her back are aesthetically quite sublime. Alain Delon is fair in the title role, but he lacks any real charisma. Between him and his doppelganger, I think they both possessed nearly as much charisma as the horse in Vadim's film. Overall, this film also sacrifices its story to the look of the film. The end is rather intense and powerful in its own right, but it lacks significance because the story itself isn't carried forth with any conviction or authority. Terence Stamp is Toby Dammitt in the final film, directed by Federico Fellini. He really does an outstanding job looking washed out, confused, sick, drunk, and completely at the end of his tether. The film itself is phenomenal. It is by far the most absurdist and melancholy of the three films. In this adaptation of Poe's story, "Never Bet the Devil Your Head", Toby is jaundiced with everything possibly gained by fame in this life. He seems to represent the insidious truth of fame. He is also haunted by a sweet little girl in white, bouncing a big white ball. The scenes relating to her are the best, in my opinion. She is a sylph with terrible symbolic power. What does the ball mean? Why is she so demonstrably joyful? She can be read as pure and active--a regenerative force that is the impetus for new life. She certainly is spooky and charged with energy. She is clearly something that Toby's psyche cannot accept. Ultimately, the viewer is made privy to a series of associations in Toby's mind that help us understand his relationship with the little girl. But we are not made aware of her exact role in his downward spiral. It is impossible to fully convey the magic that Fellini captures with this film. From start to finish, there is a typically "Felliniesque" hyper-surrealism that transports the viewer into another dimension. This is the only film of the three that manages the rather daunting feats of transcendence and cinematic art. Nino Rota's score is haunting and hypnotic throughout. An absolute masterpiece overall.
Rating:
Summary: Fellini Makes Films Like My Dreams--Exquisite Bliss
Review: These three short films, loosely adapted from stories by Poe, are all packed with stunning landscape and exquisite set design. However, only Fellini's film manages to create a story worth retelling in its own right. The first film is Roger Vadim's "Metzengerstein". The best thing I can say about it is that the gorgeous horse was the most effective actor in it. He knew his lines, and nodded when appropriate. Jane Fonda plays Contessa Frederica, an occasionally sadistic libertine who develops a passionate romantic attachment to the aformentioned horse. She is wondefully cruel and gorgeous, making the most out of some truly inspired little outfits. The segment is filmed by Claude Renoir, who captures some stunning images breathtaking beauty. Again, the scenes with the horse galloping and cavorting with Frederica are rather intoxicating. The story itself, however, is sacrificed on the alters of atmosphere and aesthetics. The end result is a very empty film. Louis Malle's "William Wilson" basically has two really excellent scenes that make this worth watching. The first is a simple send-up of an autopsy. Wilson is demonstrating for his fellow Medical School classmates, the proper introductory procedure for performing an autopsy. Except, where his instructor had used the corpse of an old man--Wilson had bound a lovely, living lass and is preparing to dissect her. The other great scene involves Brigitte Bardot. Throughout this film, Bardot is unflatteringly coiffed in a black wig that is pulled back in a rather schoomarmish fashion. Her eyes are seductive, but she doesn't demand the kind of camera worship she has so often received in other films. However, the hair comes down and Bardot is soon being subjected to Wilson's birch rod. Her face, hair, and the slashes on her back are aesthetically quite sublime. Alain Delon is fair in the title role, but he lacks any real charisma. Between him and his doppelganger, I think they both possessed nearly as much charisma as the horse in Vadim's film. Overall, this film also sacrifices its story to the look of the film. The end is rather intense and powerful in its own right, but it lacks significance because the story itself isn't carried forth with any conviction or authority. Terence Stamp is Toby Dammitt in the final film, directed by Federico Fellini. He really does an outstanding job looking washed out, confused, sick, drunk, and completely at the end of his tether. The film itself is phenomenal. It is by far the most absurdist and melancholy of the three films. In this adaptation of Poe's story, "Never Bet the Devil Your Head", Toby is jaundiced with everything possibly gained by fame in this life. He seems to represent the insidious truth of fame. He is also haunted by a sweet little girl in white, bouncing a big white ball. The scenes relating to her are the best, in my opinion. She is a sylph with terrible symbolic power. What does the ball mean? Why is she so demonstrably joyful? She can be read as pure and active--a regenerative force that is the impetus for new life. She certainly is spooky and charged with energy. She is clearly something that Toby's psyche cannot accept. Ultimately, the viewer is made privy to a series of associations in Toby's mind that help us understand his relationship with the little girl. But we are not made aware of her exact role in his downward spiral. It is impossible to fully convey the magic that Fellini captures with this film. From start to finish, there is a typically "Felliniesque" hyper-surrealism that transports the viewer into another dimension. This is the only film of the three that manages the rather daunting feats of transcendence and cinematic art. Nino Rota's score is haunting and hypnotic throughout. An absolute masterpiece overall.
|
