Noche del terror ciego, La (1971)

Director:

Amando de Ossorio

Writers:

Jesús Navarro Carrión (additional dialogue)
Amando de Ossorio (writer)

Release Date:

febrero 1973 (USA)

Genre:

Horror

Frase comercial:

Who are these unholy savages who hunt out their victims by sound alone?

Plot:

In the 13th century there existed a legion of evil knights known as the Templars, who quested for eternal...

Plot Keywords:

Nudity | Female Nudity | Bare Butt | Breasts | Topless

Comentarios de los usuarios:

Nothing Short of a Masterpiece

Cast

Lone Fleming	...	Betty Turner
César Burner	...	Roger Whelan
María Elena Arpón	...	Virginia White (as Helen Harp)
José Thelman	...	Pedro Candal (as Joseph Thelman)
Rufino Inglés	...	Insp. Oliveira
Verónica Llimera	...	Nina
Simón Arriaga	...	Morgue keeper
Francisco Sanz	...	Prof. Candal (librarian)
Juan Cortés	...	Coroner
Andrés Isbert
Antonio Orengo	...	Train engineer
José Camoiras
María Silva	...	Maria

También conocida como:

A Noite do Terror Cego (Portugal)
Crypt of the Blind Dead
Mark of the Devil, Part 4: Tombs of the Blind Dead (USA)
Night of the Blind Dead
Noche de la muerta ciega, La
Revenge from Planet Ape (USA) (recut version)
The Blind Dead (USA)
The Night of the Blind Terror (International: English title) (literal title)
Tombs of the Blind Dead

Duración:

USA:86 min | Spain:101 min

País:

Spain | Portugal

Idioma:

Español

Color:

Color

Aspect Ratio:

1.66 : 1

Sonido:

Stereo

Clasificación:

Canada:16+ (Quebec) | Australia:R | Sweden:(Banned) | UK:18 (cut) | USA:PG | West Germany:18

Filming Locations:

Estoril, Cascais, Lisbon, Portugal

Company:

Interfilme

Trivialidades:

The blind dead are never referred to as "Templar Knights" or "Caballeros Templarios" in the original Spanish language version. They are referred to as "los Guerreros de Oriente" ("The Warriors from the Orient").

Movie Connections:

Referenced in Películas para no dormir: Cuento de navidad (2005) (TV)

Nothing Short of a Masterpiece

I am shocked to see the comments on this film by the users of the IMDB. Shocked and saddened; Amando de Ossorio's BLIND DEAD films are the quintessential viewing experience for 1970's Eurohorror. This particular film is nothing short of a masterpiece, though brain cell count and attention span deficit disorders that run rampant amongst the youth of today could account for SOME of the negative comments logged. Still ...

The first BLIND DEAD film does NOTHING to set it's scene, other than to show you Goya-esque views of a crumbling Spanish citadel ... One of the problems in assessing the cultural significance of a film that is 33 years old is related to how it is marketed, and by marketing the BLIND DEAD films as "Zombie Flesh Eating Gore Fests" is to miss Ossorio's point. Therefore the distributors themselves might be as much to blame as any one factor -- by trying to cash in on Zombie gorehounds and their easily parted with money, companies like Anchor Bay took a beautiful little movie and turned it into an instant reseller's nightmare. If plot is something you look for in your films, the BLIND DEAD movies will fall short. They will also fall short on the gore factor, since Ossorio was using the gore effects as ways to color his pallete of moods [see the first ten minutes of NIGHT OF THE SEAGULLS/NIGHT OF THE DEATH CULT for the most vivid example]. Ossorio was very much a director of moods and visuals rather than a strict, trudging story line that plods from A to B to C and then you're through. Like most European horror from the early 1970's, the stories are actually rather unimportant next to considerations like lighting, texture, color schemes and movement. If you watch a BLIND DEAD movie for a lightning fast paced blood soaked zombie fest OF COURSE you are going to feel like you wasted $15.

Ossorio was making parables about his time: I see this series as being very subversive commentaries on the Franco regime, with the Templar Knights summond from the grave at the start of each film as a way of representing the old values of Spain finding a voice amidst the artistic repression of their time. Spanish art has always been filled with images of horror & suffering, so it would make sense that an artist like Ossorio would choose the medium of his time -- film, rather than oil & canvas -- with which to bring forth his vision, and fill it with images of horror. But that doesn't mean that his objective was to make a mind numbing splatter film that would beat it's audience into submission with a meathook. If thematic relevance could be found for allowing a pretty supporting actress to be torn to shreds by vampiric Templars in a death ritual, well so be it -- that kind of stuff sells, and was permissable under Franco's dictatorship where straight out sexual content was not.

TOMBS OF THE BLIND DEAD [as we know it today] stands as one of the watershed films in mixing horror with eroticism: before Ossorio, the erotically tinged horror flick tended to be softer edged, not confront the viewer with TOO much carnage [though torture films were huge during the 1970's, especially in places like Italy and Germany where film makers were free to make films about whatever they wanted], and tended to end "happily". Ossorio's work changed all of that: we see graphic amputations, decapitations & other forms of bloodletting right next to the boobs, bikini lines and Go-Go boots. Ossorio had a great eye for beauty too, and packed his films with a bevy of gorgeous, beautiful Eurobabes who would have the most apalling things happen to them right on camera but were never "exploitational" -- the sexual content in Ossorio's work is treated as a plot element itself, not just inserted into the storyline to keep the attention of the jaded from slipping.

Several of the commentors are correct when pointing out that this movie is "slow", but I contend that it is slow in a way that emphasizes the poetic nature of his visions -- events transpire in a deliberate manner, with the action taking place almost like a walz or ballad. Is this a cultural sensitivity issue? Probably -- American consumers want MORE, FASTER, BIGGER and they want it NOW. To require an audience to sit through 25 minutes of a film before even learning why any of this is happening was apparently so unbearable that the original distributor of this film -- Paragon Video -- actually took it upon themselves to restructure the film so that the middle came at the beginning, and the film opens with a death ritual/blood sacrifice of a sexy woman to assure brain-dead Americans that they were going to get to see the boobs & blood that the films were marketed as delivering. And by doing so they not only did a dis-service to the movie, but shot themselves in the foot, since the action never again reaches that frenzied peak of luridness.

Anchor Bay Entertainment and Video Treasures did better with their "remastered" widescreen presentations, but still failed to grasp how to adequately market the films to what audience, and as such you can go to Amazon & score this tape for about eight bucks from a reseller [the out-of-print DVD containing both this and the second installment usually runs $30 - $50 and is considered tres collectable] and not even have to put up with a prior rental, since AB was marketing to consumers for home sales, not rental outlets. If you are interested in finding the pivotal moment of 1970's Eurohorror when art & entertainment met head on and brought forth one of the most widely respected series of the genre, this IS it.

If you are looking for a gut munching Zombie fest with splatterings and disembowlings, I am delighted to report that this isn't it. You don't check your brains at the door when you watch a BLIND DEAD movie, you use them.

If that is beneath you as a film consumer, you are indeed well advised to look elsewhere.