Deranged Spanish giallo from director Carlos Aured, written by and starring Paul Naschy, who portrays a recently released con named Gilles, troubled by odd nightmares regarding his intense strangulation of a specific woman, who finds a job as a grounds-keeper under the employment of three troubled sisters. Not long after starting work, Gilles is bedding two of the sisters, fiery red-headed nympho Nicole(Eva León)and Claude(Diana Lorys) victim of an unfortunate car accident leaving a nasty burnt scar down her arm and missing fingers on the hand. Nicole, wearing a metallic hand and often hiding her arm under long sleeves, is not only wounded physically, but carrying inner anguish deeming herself hideous completely devoting her life to the family. Also "damaged" in the car accident was sister Ivette(Maria Perschy) , seemingly paralyzed and confined to a wheelchair. With the arrival of Gilles, friction begins to surface as both Nicole and Ivette desire his touch. Meanwhile, a murderer, wearing black gloves(..not leather this time)begins to attack blond headed, blue-eyed beauties in the general area at night with various weapons at his/her disposal. Obviously, the ex-con will be an immediate suspect, while the authorities search for a disgruntled former employee of the sisters, who confronts Gilles in a knife fight leaving both men sliced by the weapon during their brief skirmish. The town detective(Antonio Pica)confides in the trusted doctor(Eduardo Calvo)in assisting him on the difficult case. The doctor often pays visits/house calls to Ivette, for he believes her problem is more mental than physical. He, too, resists Nicole's feminine wiles, and harbors deep sadness due to the loss of his beloved daughter during an eye operation which went awry. Another important character is the newly arrived nurse, Michelle(Inés Morales), who is to take care of Ivette under the doctor's orders. The reason Michelle is the nurse over Ivette has a bit of notoriety, she was not the one that was to take the job, but replaced a nurse murdered not too far from the town.
Like the Italian giallo thrillers populating the cinematic landscape at the time, Naschy's script throws in lots of red-herrings and twists. He gives himself another interesting character, this one a troubled man, burdened with a past that haunts him. Gilles can never be fully trusted, which makes this type of character just right for a giallo. To create doubt in the viewer's mind by providing us with someone with a checkered past, coupled with strange nightmares and violent tendencies(..Gilles even attempts to harm Claude and Michelle), Naschy successfully brings this wacky thriller up a notch. The nature of Nicole, channeled by the lusty León always on the prowl for some lovin', bored by the trappings of such a repressive environment, adds some fun to the mix. I really liked Lorys as the anguished Claude who displays the hurt and self-loathing needed for such a character carrying the disability that shows on the outside. No matter how much she hides the hideous scar and warped hand, we are able to see the repulsion for her condition expressed in not only the way she talks but through the face and eyes. Naschy also gives himself another tragic, flawed hero, who meets a sad fate, not far removed from his El Hombre Lobo. The violence suffers the most due to obvious budgetary constraints, certain attacks(..like when a neck begins to bleed before the knife even cuts the flesh, or a garden fork which slices across bloody glass instead of the victim's body)aren't exactly the most believable. I think most giallo fans will forgive this, if just for the crazy reveal of who the real mastermind behind the killings is at the end. It seems Naschy studied the Italian giallo philosophy well..I consider this a winner.
Like the Italian giallo thrillers populating the cinematic landscape at the time, Naschy's script throws in lots of red-herrings and twists. He gives himself another interesting character, this one a troubled man, burdened with a past that haunts him. Gilles can never be fully trusted, which makes this type of character just right for a giallo. To create doubt in the viewer's mind by providing us with someone with a checkered past, coupled with strange nightmares and violent tendencies(..Gilles even attempts to harm Claude and Michelle), Naschy successfully brings this wacky thriller up a notch. The nature of Nicole, channeled by the lusty León always on the prowl for some lovin', bored by the trappings of such a repressive environment, adds some fun to the mix. I really liked Lorys as the anguished Claude who displays the hurt and self-loathing needed for such a character carrying the disability that shows on the outside. No matter how much she hides the hideous scar and warped hand, we are able to see the repulsion for her condition expressed in not only the way she talks but through the face and eyes. Naschy also gives himself another tragic, flawed hero, who meets a sad fate, not far removed from his El Hombre Lobo. The violence suffers the most due to obvious budgetary constraints, certain attacks(..like when a neck begins to bleed before the knife even cuts the flesh, or a garden fork which slices across bloody glass instead of the victim's body)aren't exactly the most believable. I think most giallo fans will forgive this, if just for the crazy reveal of who the real mastermind behind the killings is at the end. It seems Naschy studied the Italian giallo philosophy well..I consider this a winner.