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Estratto dagli archivi segreti della polizia di una capitale europea 1972
Description: After a peaceful sailboat ride, four young people, including rich child Bill, Joe, Fred and Jane, knock on the door of a secluded villa after their dune buggy runs out of gas. Earlier in the day, Bill had given the lovely Jane a pearl necklace with a supposedly paranormal history, and this soon opens up a can of worms. They are invited to spend the night at the mansion, owned by King Alexander and Lady Alexander, who happen to be hosting a strange ceremony that night attended by a group of eccentrics in black robes. During the evening, Jane exits her sleep chamber, seemingly in some type of trance, and is lured to a sacrificial alter where the robed houseguests are hovering over her. As a knife is about to be plunged into the young lady, her three mates come to the rescue, but they are also witness to a chaotic mass murder catastrophe in which they flee with feelings of guilt and uncertainty.
Released: 20 Dec 1972 Director: Riccardo Freda Writers: Mario Bianchi, José Gutiérrez Maesso, Leonardo Martín Actors: Camille Keaton, Tony Isbert, Máximo Valverde, Luigi Pistilli Genres: Horror
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Estratto dagli archivi segreti della polizia di una capitale europea Reviews:

As I have told elsewhere, my abiding love for Italian actress Luciana Paluzzi has, cinematically, led me to some fairly unusual places. From my initial enthrallment with her Fiona Volpe hero in 1965's "Thunderball" and on to such disparate fare as the British comedy "Carlton-Browne of the F.O." (1959), the Japanese sci-fi shlock classic "The Green Slime" (1968), the Jess Franco WIP flick "99 Women" (1969) and the blaxploitation actioner "Black Gunn" (1972), I have everytime found that a tiny Luciana makes any movie go down easier. My most newest confirmation of this: the 1972 Italian supernatural cult item "Tragic Ceremony" (or, as it was named originally, "Estralto Dagli Archivi Secreti Della Polizia Di Una Capitale Europa," or "From the Secret Police Files of a European Capital"), in which Paluzzi's role is a tiny one, but one that adds immeasurably to the creepy proceedings.In the film, four young adults (though referred to as "hippies" both in the picture itself and in most commentaries on it, in truth they are more like free-loving gratis spirits), needing shelter after their dune buggy conks out in a teeming thunderstorm, knock on the first door they come across. Unfortunately for them, it is at the mansion owned by King Alexander (the nice Luigi Pistilli, who, that same year, starred in the wonderfully called and just plain unbelievable "Your Vice Is a Locked Room and Only I Have the Key") and his wife, Lady Alexander (our Luciana), a pair of Satanists, who that very night are preparing to convoke a Black Mass with a group of rather unwholesome guests. And before long, one of the quartet, Jane (played by Camille Keaton, who earlier that year had appeared in her first film, the classic giallo "What Have You Done to Solange?," and who six years soon would star in the infamous "I Spit on Your Grave," a movie that I've yet to muster the courage to watch), perhaps influenced by a pearl necklace with a supernatural history that one of the three guys had recently given to her, is seen somnolently floating toward that Satanic ritual. But the Mass ends in an over-the-top bloodbath, and the four flee for their lives into the night. But sadly enough, their nightmare is only beginning....Directed with style to spare by Riccardo Freda, whose earlier horror movies contain Italy's first of the sound era, "I Vampiri" (1956), and the Barbara Steele cars "The Horrible Dr. Hichcock" (1962) and "The Ghost" (1963), "Tragic Ceremony" was one of this nice filmmaker's final projects. Freda has incorporated modern, Gothic, Satanic and nightmarish elements into the film, in that order. The tragic ceremony of the title, the Black Mass in which all nine celebrants are butchered via beheading, face cleaving, shootings, knifings and a defenestration, is the literal centerpiece of the film, coming at the exact midpoint and separating the modern and Gothic sections from the nightmarish, supernatural tone of the second half. The Mass really is a bravura sequence. The celebrants truly do look evil; the dreary, dreamy organ music, black candles and pitch-black background make a chilling mood; the weaving, zooming camera creates an air of disorientation; the sight of Jane floating down a corridor, curtains billowing around her while she holds a candelabra aloft, is truly dreamlike; and the nice and bloody carnage, accompanied by a lush piano-and-strings score by Stelvio Cipriani and abetted by gross-out touches by FX master Carlo Rimbaldi (of "E.T.," "Alien" and Andrzej Zulawski's "Possession" fame), is truly shocking. And Freda maintains the nightmarish, otherworldly feel of his movie all the method to the end, as all four of our young protagonists start to meet horrific ends (the sight of one of the four, his corpse countenance quite literally blue in the face, could linger in the memory for quite a while!). The movie employs brief flashbacks and flash-forwards to accentuate the feeling of dislocation, and there is just no method for any viewer to predict what will come next, in this truly bizarre outing. Ultimately, the movie just barely hangs together, with the question of that darned necklace still, uh, dangling before us; even a doctor's "explanation" of the wacky happenings we've seen, as the movie closes, barely starts to cover it. I could add here that the thesping turned in by our young quartet is better than good, and needless to say, Pistilli and Paluzzi are just marvelous (sadly, the roles of both these two are decidedly brief). Paluzzi looks absolutely gorgeous, need it even be mentioned; this fact makes Fred's (one of the guys) statement that she has "a face like Dracula" only add to the film's strangeness!Some further nice news: The Dark Sky Movies DVD on which "Tragic Ceremony" can actually be found is a nice-looking one indeed, with perfect subtitling, a decent image, and one perfect extra: a 13-minute interview with the Camille Keaton of 2007, entitled "Camille's European Adventures." Better looking than ever, well spoken and articulate, with a sharp memory and a nicely self-effacing disposition, Arkansas-born Camille comes off as a bright, 60-year-old sweetie here. Certainly NOT like the type of gal who'd participate in a Black Mass ceremony, that's for sure!


This somehow odd movie from Italian Cult Gothic Horror director Freda ("L'Orribile Segreto del Dr. Hichcock") is almost unknown and extremely hard to search nowadays.Made a year after his rough Giallo "L'Iguana Dalla Lingua di Fuoco" (see also my comment on that), the game suggests yet other Giallo (it means "Taken From the Secret Police Files of a European Capital" and fits perfectly into typical over long and unbelievable Giallo games like "Il Tuo Vizio e una Stanza Chiusa e Solo Io ne ho la Chiave" of the same year). But, in fact, this movie is not a Giallo at all - but a Gothic horror storyline about a cursed pearl necklace and a strange Satan's Cult which gets confronted by a hippie quartet on a day out. The storyline sounds unique, and the movie is it, too.Made on a very weak budget, Freda made more than the greatest out of it and created a strange film with all the classic Gothic elements, and also boosts a handful of astonishing gore results that echo the rude sequences of his Giallo a year before.The cast is lead by Camille Keaton of "I Spit on Your Grave" fame, while Luigi Pistilli ("Reazione a Catena") delivers other neat performance as the leader of the strange Cult. The soundtrack is composed by Stelvio Cipriani and is cool as usual. A movie worth looking for despite its rarity.


Ricardo Freda, a well regarded director in the history of Italian cinema (along with contemporaries like Mario Bava who agreed assignments Freda left from), was responsible for this strange bit of hokum, with supernatural leanings, containing black mass devil worship, including a silly conclusion which lays out the demonic menace and what was plaguing lead actress Camille Keaton (who wasn't much of an actress but Freda seemed more concerned with her beauty and how to frame shots of her using candlelight, wind-rustling curtains, etc) via Hitchcock's Psycho (Paul Muller comes in, like Simon Oakland did in Psycho, explaining Norman's plight, talking about Lady Alexander and her relation to what is event to Keaton throughout the movie after the incident during the "tragic ceremony")in ridiculous feature (the one doing so hasn't been seen at all throughout the movie and shouldn't have any knowledge whatsoever about any of what was occurring to Keaton), but if you like movies that are "out there", maintaining an oddball mood, then perhaps "Tragic Ceremony" is your type of entertainment. I have to admit that I thought it had some serious pacing issues, lulls at the beginning and shortly after the "big scene" (where the bizarre slaughter of the black mass cult assembled in the lair of King Alexander and Lady Alexander's castle, all killing every another (!) after a human sacrifice is interrupted takes place), but "Tragic Ceremony" allows Carlo Rambaldi to showcase his gruesome unique results which contains a sword splitting a face in half, a gunshot to the forehead, a decapitation, and a dagger stabbing (also we see a face with a missing lower jaw)to the stomach. The main cast couldn't act if their life depended on it, with Keaton (Day of the Woman) cold on screen, not any better than those around her. Luciana Paluzzi (Thunderball), as Lady Alexander, and Luigi Pistilli (Your Vice Is a Locked Room and Only I Have the Key), as King Alexander, have minor helping parts, but because of the limited screen time, they fail to add enough oomph to raise the quality of this rather hopeless exercise in futility. Some impressive visual moments with Keaton in the castle, along with Rambaldi's work, are about all this movie has going for it. Once the movie leaves the Alexander castle, I felt the movie never quite recovers—it seems as if the movie was built for the portion within the castle while everything else seems less inspired, although a subplot involving believe fund baby Bill (Tony Isbert) and his adulterous mom is given some time. Not sure what to create of Bill's fate, with the green make-up. There's also a weird extra character, a gas station attendant who might be more than he appears, who affects the lives of the twenty-somethings, responsible for leading them to the Alexanders to start with. Máximo Valverde is Keaton's lover and Giovanni Petti is the tagalong guitar testing crooner of the foursome. Interesting footnote is the test of the Sharon Tate murders, mentioning the Manson cult, in dialogue of a news broadcast describing similarities to the black mass massacre at the Alexanders' castle.



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