Lucio Fulci's penultimate movie is par for the course for the Italian godfather of gore in that it is a largely incoherent effort, an offbeat horror mystery enlivened by some bloody effects to keep the director's die-hard fans happy. There are also several surreal dream sequences (including one involving rotting zombies) and a reasonable helping of sweaty nudity for those who prefer their Euro-horror on the sleazy side.
The story starts with a wealthy man, Georgio Mainardi (Duilio Del Prete), dying from sudden internal haemorrhaging. As an autopsy is carried out (in graphic detail, naturally), Georgio's spirit questions what has happened to him. Determined to find out the truth, he contacts his daughter Rosy (Karina Huff) from beyond the grave; however, with the majority of Georgio's family and acquaintances having good reason to want the man dead, and with the guilty party covering their tracks, Rosy won't find it easy to solve the mystery.
While a long way from the director's best work, there are still a few scenes that make this one watchable: the aforementioned autopsy will appeal to gorehounds (also worth a mention are the frequent cuts to Georgio's interred body, each time the corpse a little more decomposed); those who enjoy the bizarre will love the freaky dream sequence set in a restaurant patronised by weird creatures with tentacles, where a serving of fried eggs turns into a plate of eyeballs; and those who like naked ladies will appreciate the T&A from pretty blonde Huff and brunette Bettina Giovannini as Georgio's wife Lucia.
The story starts with a wealthy man, Georgio Mainardi (Duilio Del Prete), dying from sudden internal haemorrhaging. As an autopsy is carried out (in graphic detail, naturally), Georgio's spirit questions what has happened to him. Determined to find out the truth, he contacts his daughter Rosy (Karina Huff) from beyond the grave; however, with the majority of Georgio's family and acquaintances having good reason to want the man dead, and with the guilty party covering their tracks, Rosy won't find it easy to solve the mystery.
While a long way from the director's best work, there are still a few scenes that make this one watchable: the aforementioned autopsy will appeal to gorehounds (also worth a mention are the frequent cuts to Georgio's interred body, each time the corpse a little more decomposed); those who enjoy the bizarre will love the freaky dream sequence set in a restaurant patronised by weird creatures with tentacles, where a serving of fried eggs turns into a plate of eyeballs; and those who like naked ladies will appreciate the T&A from pretty blonde Huff and brunette Bettina Giovannini as Georgio's wife Lucia.