Watch The Night Evelyn Came Out of the Grave For Free

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In truth, there is barely enough story here to make a film.

Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

Exactly the movie you think it is, but not the movie you want it to be.

This Italian-made attempt at Gothic Horror takes place in England— except most of the characters have jet black hair and Mediterranean complexions, and they drive on the right side of the road.The plot: Alan Cunningham, a wealthy English lord, has just been released from an insane asylum. He had suffered a mental breakdown following the death of his red-haired wife, Evelyn, whom he feared was cheating on him. A free man, Alan scours the local bars and dives for lovely redheads willing to come back to his decaying castle in the country—where he seduces, tortures, and murders them.Alan eventually remarries. Not long after, he starts seeing visions of his dead wife, and his live-in relatives are turning up brutally (if creatively) murdered. One is bitten by what looks like an ordinary grass snake and is buried alive in a shallow grave. Another is bludgeoned to death and fed to a cage full of foxes. At least I think that's what happens, but who can tell through the poor lighting?About the only thing this film has going for it is the eye-catching (if misleading) title. It's rife with Gothic clichés: cobwebs, mist, creaking floorboards, and a nasty rainstorm, for example. The plot is byzantine and contains not one, but three, false endings. There are long stretches where nothing happens. The editing is choppy. Not one character is likable or sympathetic. Alan's wheelchair-bound aunt looks much younger than he is. Fans of gore won't appreciate the mildness of the murder scenes. There is, however, plenty of Italian cheesecake on hand.Speaking of which, a strong current of misogyny permeates the film. The women are all passive and subservient, from the maids to Alan's murder victims to his new wife. Finally, the ending feels like an afterthought. It leaves a gaping plot hole (or six) and lets a murderer go free.There is no reason to see this turgid, malevolent, muddled excuse for a thriller.

"The Night Evelyn Came Out Of The Grave" is, in some ways, a quintessential giallo - it has nearly everything the genre is known for: a colorful title, poor English dubbing, lots of nudity, a decidedly chauvinistic / anti-feminist bent, a ludicrously convoluted plot, a series of murders, and a pervading sense of trashiness (a corpse is fed to a cage full of foxes in this one!). However, "Evelyn" lacks the artiness with which the better films of the genre bring together all those elements; there is a reason why you are familiar with the names of Dario Argento or Lucio Fulci, but not with that of Emilio Miraglia. For the first hour or so, nothing really happens in the plot of this movie except two murders; the twist at the end almost redeems the film, but then there is another, and another: you begin to get the impression that Miraglia threw in everything but the kitchen sink, without really knowing what he's doing. *1/2 out of 4.

Crazed wealthy English lord Alan Cunningham (well played by Anthony Steffen) frequents swanky clubs for beautiful redheaded women to take back to his remote castle in order to satisfy his deviant sexual practices. Alan meets, falls for, and decides to immediately marry the lovely Gladys (a charming portrayal by the fetching Marina Malfatti), who he hopes will pacify his troubled mind. However, there are other forces at work to drive him insane. Director Emilio Miraglia does a bang-up job of creating and maintaining a genuinely creepy atmosphere while milking the twists and turns in the tricky plot for all they're worth. Moreover, the full-on warped perversity gives the picture an extra sizzling kinky charge and the marvelous abundance of gorgeous gals aren't the least bit abashed about baring their fine bodies. The ravishing Erika Blanc positively burns up the screen as sexy stripper Susie; her coffin nightclub act is a real doozy. The luscious Maria Teresa Tofano likewise makes a strong foxy impression as brash prostitute Polly. Despite all the depraved goings-on, director Miraglia somehow manages to add an element of posh elegance to the tawdry proceedings. Kudos are also in order for the sound acting by the capable cast, with especially stand-out work from Giacomo Rossi-Stuart as concerned family physician Dr. Richard Timberlane and Enzo Tarascio as Alan's obsequious playboy cousin George Harriman. Gastone Di Giovanni's widescreen cinematography gives the picture a cool stylish look. Bruno Nicolai's groovy throbbing score hits the swinging spot. A total sleazy treat.

Most people that like this movie seem to like it for its artistic value. I couldn't even enjoy the movie for that.This was a bit of an odd movie, that could be called a bit of an artistic one, with its overall approach. But this approach really goes at the expense of the story, that just never seems to get off the ground. I just couldn't get really into this movie or feel involved with any of its characters and the events that were happening on screen.The story in itself sounds good and interesting enough. The premise makes this movie sounds like an Italian torture-porn movie or just a plain horror one. In fact it's really neither, fore it does not feature enough horror to consider this an horror at all and though the movie does has hints of some sadomasochistic tendencies, the movie shows actually very little of the torturing and a lot is being implied but very little is ever shown. So this really isn't a bloody or gory, typical Italian genre piece. Granted that it's still a stylish looking film, with also some good moments in it but it really doesn't make the much better or more interesting to watch.Not a very interesting movie to watch and a disappointing lackluster, that still shows some hints of a great movie, buried somewhere deep down in all of it.4/10http://bobafett1138.blogspot.com/