Dir: Mario Bianchi
Cast: Jacqueline Dupré, Mariangela Giordano, Aldo Sambrell, Joe Davers, Giancarlo Del Duca, Alfonso Gaita and Marina Hedman.
Somewhere in the polyester hell that is seventies Spain, the wealthy yet scarily swarthy landowner Antonio Aguilar (Sambrell) is mourning the death of his wife Maria and trying to figure out how he can sneak young girls into the house now that he's got his teenage daughter Miria (Dupré, the 'actress' not the famous cellist) to look after.
Du Pré: Overjoyed to be featured on this blog.
Or she would be if she were alive.
Or she would be if she were alive.
Things begin to take a sinister (yet vaguely amusing) turn when, during the funeral service, just as Miria is gazing doe eyed at her mum, the body begins to shudder and shake in an alarming display of europorn cum acting. Obviously Miria finds this sight terrifying as do the majority of mourners tho' I must admit it was kinda sexy in an old lady stroke kind of way.
I miss Helen Daniels.
Returning home to their ancestral castle we discover that disco dancing dead mums and sweat sodden dads are the least freaky of the family when compared to Antonio's paraplegic, four-wheeled brother Ignazio, his big haired, bold hipped carer and nun-in-training Sol (Amazonian thighed sleaze bucket Giordano from Nights of Terror) and the shiny headed wooden toothed servant Isidro.
Tensions are high between Sol and Antonio and to make matters worse Ignazio has the hots for Sol, taking any opportunity he can to squeakily follow her round the house (well, the downstairs rooms at least) and spy on her in the shower.
Insert comment about a man biting a big cock here.
Miria, not too surprisingly, seems to be quite depressed due to her mum's death and Isidro, with all his talk of Maria's spirit not being at rest and other superstitious bollocks isn't helping matters.
he's convinced that Miria's dead mum is attempting to possess her daughters body toward some foul act of revenge or maybe just for a laugh.
Who knows?
Late one night Miria is awoken by her mothers voice whispering softly in her ear and ordering the confused teen to visit the family crypt. Being a good girl, Miria obeys her mum only to come across Isidro frantically fiddling with a big cock whilst trying to invoke some nonsensical supernatural protection rite.
Jade Goody: The final interview.
Drawn towards her mother's corpse as if pulled by some strange, talent draining force Miria is horrified to find Maria's cold dead eyes staring back at her.
Miria (being a girl) screams and faints.
Bless.
Concerned by his daughters behavior (but not, it seems by his handyman's predilection for choking chickens) Antonia arranges for a doctor friend to visit Miria.
Oh and to embalm Maria whilst he's at it.
Much to her dismay, the doctor recommends that Miria should go on holiday for a few weeks and try to forget the spooky voices and bird based violence she's been experiencing. Miria huffs and stamps her feet like a typical teen but Antonio and Sol agree with the doctor and begin to pack her bags.
Everything seems to be back to normal, Ignazio is following Sol around the house with what looks like a dead rat poking out of his lap, Sol is cutting Antonio filthy looks, Isidro is polishing a pair of gorgeous brass knockers and the doctor is embalming Maria in the crypt.
It's a wee bit like Eastenders only better scripted.
Especially when Maria returns to life and injects preserving fluid into his neck.
Miria was shocked to find that her real father was
the unknown, third dwarf Chuckle Brother.
the unknown, third dwarf Chuckle Brother.
Going down to the cellar with some crisps and a can of Fanta for the doctor, Antonio is shocked to see his friend lying stiff as a board with his dead wife's body astride him holding a big needle. In a bout of panic he decides that rather than call the police it would be easier to torch the car before dumping both it and the doc's body in the local canal.
Sol, either pissed off at the situation or annoyed that this is the longest she's ever gone in a movie without stripping to a pair of cream stockings and sharing her ample bush with the audience, finally loses it with Antonio shouting "You dirty old sod!" at him whilst waving her fists in the air.
But this only helps fan the fire of his insane lust for her and he storms out of the crypt shouting "I promise you this, you little whore....I will eventually have you!"
Oooeerr missis.
Mariangela Giordano wonders if it's in yet.
As the days go by it seems to all concerned that Isidro's hunch about Maria taking over her daughters body was correct (who knew?) as with each passing moment Miria is morphing more and more into her dead mum, revealing secrets about her life as yet unknown to poor Antonio.You see, behind the safe, floral dressed mumsy exterior Maria was a sex obsessed pervert due, in part to Antonio's drug induced impotence but mainly because she was a dirty lady like the type your gran told you to stay away from. It seems that no one was safe from her ungodly desires and that she'd been shagging everyone from the recently deceased family doctor and a pre-accident Ignazio as well as having a long term lesbian tryst with Sol.
Each to their own.
Antonio, however has more important stuff to deal with and totally ignoring the fact that his nympho dead wife has return from the grave decides that this would be the best time to kill his brother and Sol. Coming up with a plan to wall them both up in the crypt.
For what reason I have no idea, I mean I've had girls knock me back before and I've never had the urge to bury them alive in my garden.
Well maybe just the once.
But whilst he puts his fiendish plan into action Maria has taken total control of Miria's (admittedly curvy) body and is intent on revenge herself....
Miria farted...and it was an eggy one.
Dismissed by many as an inferior remake of the 1979 erotic horror classic Malabimba (albeit with nicer wallpaper), Satan's Baby Doll is a near perfect example of everything that's right (and in some cases so wrong) with the Eurotrash genre.
The film is virtually plotless, existing only to showcase a few cheap scares, some high fashion trousers, a couple of scenic locations plus a fair bit of female nudity from Mariangela Giordano (playing the same role in both films - tho' it would be nice to see her fully clothed for a change seeing as she resembles that drunken auntie you always see at weddings) and the flat faced, lazy eyed Jacqueline Dupré (in her only film role).
I almost feel sorry for her in a way, I mean, imagine being so charisma free as to make a sleazy lesbian love scene appear boring (at least Malabimba's Katell Laennec tried frowing every so often, tho' from the look of her she was thinking about cakes during the sex scenes).
Whatever she's asked to do her expression never changes from one of mild apathy. You should be lusting after her yet all you want to do is give her a blanket to cover her modesty and a hug.
If you're still around Jacqueline please get in touch to say you're OK.
"Pull my nightie down when you're done".
At just over an hour and ten minutes in length Satan's Baby Doll is mercifully short and, if you're a fan of Mariangela Giordano (and frankly who isn't?) must be deemed an essential purchase.
And that, my friends is the scriest thing about it.
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