Spirits of the Dead |  | Actors: Brigitte Bardot, Alain Delon, Jane Fonda, Terence Stamp, James Robertson Justice
Studio: Homevision
Category: DVD
List Price: $19.95
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Seller: Steelhead Enterprises
Rating:  29 reviews
Sales Rank: 18392
Format: Anamorphic, Color, DVD, Subtitled, Widescreen, NTSC
Languages: English (Subtitled), French (Original Language)
Rating: R (Restricted)
Region: 1
Discs: 1
Aspect Ratio: 1.75:1
Running Time: 121 Minutes
Shipping Weight (lbs): 0.3
Dimensions (in): 7.4 x 5.3 x 0.6
MPN: 037429161227
ISBN: 0780024532
UPC: 037429161227
EAN: 9780780024533
ASIN: B00005QAPK
Theatrical Release Date: July 23, 1969
Release Date: November 27, 2001
Availability: Usually ships in 24 hours
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Product Description
Three stories, based on the horror tales of Edgar Allen Poe, presented by three well-known directors.
Amazon.com
An irresistible and guilty pleasure, this anthology based on stories by Edgar Allan Poe is a rare opportunity to see three of the biggest names in 1960s European film direction working in the short form. The results are uneven, but so what? They're also plain outrageous. Roger Vadim's Metzengerstein stars real-life siblings Jane and Peter Fonda perversely cast as lovers. When the latter dies, Jane's character turns to a mysterious black stallion for companionship, the suggestion being that the dead man's spirit is within the horse. Both corny and vaguely lurid, this ghost tale is Vadim all the way. Louis Malle's William Wilson is an in-your-face take on Poe's classic doppelgänger fable, starring Alain Delon as a blackguard who gets his comeuppance from a nicer variation of himself. More craftsman-like than cinematically bold, the film displays the kind of crisp wit Malle didn't display often enough. Finally, Federico Fellini's Toby Dammit proves to be the most interesting piece in the trio, featuring Terence Stamp in a terrific performance as an actor at the end of his rope (the equivalent of Mastroianni's burned-out director in Fellini's 8½), who has come to Rome to star as Christ in a New Testament Western. Dense with Fellini's dreamy textures and iconic clutter, Toby Dammit is a fun experience. --Tom Keogh
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Showing reviews 1-5 of 29
 Sympathy for the Devil August 5, 2010
The Cultural Sojourner (Southern California)
Poe's macabre tales The Collected Works of Edgar Allan Poe are re-envisioned by three auteurs: Vadim, Malle, and Fellini.
Vadim's 'Metzemgerstein' is reinterpreted in the form of a debauched, depraved, decadent countess -- Jane Fonda. Her nature is aptly described as a 'petty Caligula.' Orgies, bisexuality, and hedonism abound. Her costumes were late 60's outrageousness. Falling in love with her cousin, played by her brother, Peter, just added to the creepiness factor. Eventually, she and her spirited black stallion are literally consumed by flames.
Malle's vision of 'William Wilson' was my personal favorite. Alain Delon is perfectly cast as a sadist, haunted by his conscience, which is manifested as his doppelganger. Malle's jumpy camera perfectly translates the terror and anxiety experienced by Delon after murdering his doppelganger. By eliminating his superego, he has essentially murdered himself.
Fellini's loose adaptation of Poe's story is replete with surrealistic trademarks. This heightens the absurdity of the story. Terrence Stamp is well cast as an amoralist, tormented actor. His joyride to hell is the most shocking scene in the trilogy.
The combination of the tales is quite moralistic: the devil will always get his due.
 TRIO OF POE TALES IS BIZARRE, MOVING, NOT-SOON-FORGOTTEN JOURNEY June 22, 2010
FRED C. DOBBS (USA)
0 out of 1 found this review helpful
A trio of Poe stories presented on the screen with unique vision and flair by three respected European directors. The first, METZENGERSTEIN, by Roger Vadim features a nubile, Barbarella-esque Jane Fonda as an imperious, mildly sadistic and hedonistic young socialite/Contessa, named Frederique, presumably in the Middle Ages. Her days are spent in corporeal delights and mockery of those unlike her. She is always surrounded by similar pleasure-seeking leeches, most lifeless in their monotonous revel. Fonda, director Vadim's wife at the time, shines in a terse but evocative performance, perfect in her role, saying much with looks, attitude and posture.
The Contessa's life is irrevocably altered when she meets a rogue cousin, a young Baron played by Fonda's real-life brother [Peter Fonda]. He is bright and talented but has forsaken higher pursuits and certain adulation to remain where he is most happy and doing what makes him most happy---tending to his land and raising his beloved horses. She derides his folly yet is is fascinated at his certitude and conviction. When he rebuffs her advice to change she orders his stables set on fire. Not known to her, the Baron tries to save his horses and perishes. The Contessa is devastated. However, a wild black horse that came running out of the fires, deemed incorrigible by townspeople trying to subdue it, strangely remains pacific for the Countess. She becomes fixated on the animal and rides it for long periods of time. The powerful animal seems to provide the strength and direction probably missing from her life. Sexual undertones abound as the domineering young woman is now able control the proud and prodigious beast---in stark contrast to her usually weak, addicted and lifeless male suitors. At first, it appears that the stallion is the deceased Baron returning in another form to somehow procure justice for his death. But soon it becomes more probable that the animal represents the Contessa's conscience, now severely shaken to the point of calm redirection, also in search of justice for her tragic decision. The Contessa's intrinsic nature as an egotist, however, is unchanged and, thus, her solution for justice is self destruction as she cannot bear the thought of her miscue. There is much pathos here as the Baron was probably the only person the self-involved young woman ever genuinely admired. He had attained happiness, a state that had eluded her, yet she extinguished it with a decision driven by pompous audacity. Feeling like a cancer that eradicates the normal, she deems excision the only remedy. Splayed scantiliy-clad on her horse in symbolic submission to her conscience, to her necromancy, to the only man to impassion her, she replicates the same fate as her victim, riding the stallion into a burning forest---an almost masochistic last act.
The music is haunting and melancholy throughout--- complementing both the bleak, gray, rocky coastline and the uninviting, dense forests, and the young woman's guilt and despair---as is the silence, allowing hoofs, wind, rocks, surf and even owls to speak, though sadly.
The segment titled WILLIAM WILSON is directed by Louis Malle. It is my favorite of the three stories. It follows a young man [WILSON] as an adolescent in military school, through medical school and then in the army. Although of select upbringing, the handsome and popular Wilson is an angry and insecure youth---and a depraved sadist. French actor Alain Delon plays Wilson scrumptiously well, his calm demeanor and boyish good looks belying his mental instability exquisitely. In military school he imperils the life of a class tattle-tale by lowering him into a barrel of ravished rodents. A new student---who bears his exact name---saves the snitch and exposes Wilson who is kicked out of the school. Years later, while in medical school, Wilson kidnaps a young woman and prepares to vivisect her in the anatomy lab in front of his colleagues. Again, a stranger who bears his name saves the young victim, but Wilson's escapade is made public and he is asked to abandon his career. Later, while in the army, Wilson challenges a haughty woman who derides him to a poker game, with Wilson acquiring his foe if he wins. He wins but by dishonest means. The woman, expecting a sexual repayment, is instead brutally whipped and humiliated in public by Wilson. A stranger, another soldier with the same name, exposes Wilson's cheating. Wilson is repudiated and kicked out of the army. An angered and paranoid Wilson now challenges the man who has circumvented each of his sociopathic follies and has destroyed his career. Wilson kills his tormenter in a fencing match. The weight of his deed is too much to bear, however, and the crazed Wilson ends his life by jumping off a cathedral. As witnesses arrive, Wilson's supine, lifeless body has no impact injury but rather bears the marks and wound of his victim. The 'other' William Wilson was that part of him that mental dissolution would not allow him to recognize and incorporate---all that was good in him, his alter ego personified. The good and the bad in each of us is like a solution containing, and defined by, two disparate substances that are mixed together: without either component the solution does not exist. By murdering his counterpart William Wilson killed himself.
TOBY DAMMIT is Federico Fellini's contribution. This one is about a young British actor, well past his peak, who is invited to Rome, Italy, to participate in a production. However, unbeknownst to the celluloid entourage who receive him, the substance abusing Brit is in the midst of spiraling toward insanity---and perdition. Vet Terrance Stamp is marvelous as the pallid and pasty, anhedonic, spiritless Brit. Instead of receiving care and rehabilitation in the form of reaffirmation and rediscovery [of his innate talents and noble achievements] from his Italian colleagues the latter suck the last bit of life out of him. Fellini here presents a mesmerizing stageshow of specious emcees, models, executives, newspeople, paparrazi, hangers-on and the like, all parasitizing their victim for their own end [career benefit]. Behind the smiles of VIP's is derision and cynicism. Behind the muted, doll-like countenance of each model is a lifelessness and a perverse pomposity---as if in their silence and tacit success they lay waiting for his inevitable disintegration. The emcees lie to the camara presenting the former Toby Dammit and not the mess he is now. Toby is objectified---just a step in others' ascent to prosperity. No one cares that he is cosmetically neglected, unkempt, physically and mentally disjointed---sick.
The only time he responds with certitude is when asked by newspeople if he has ever seen the devil. Indeed, Toby is followed by a little girl with a ball who he believes is the devil. She is pleasant, smiles and playfully bounces her ball---definite non-satanic behavior. But whether real or a substance-driven hallucination, she does not hurt him like the real people around him have. In fact, during the stageshow, in the throes of spiraling despair, a young well-dressed woman sits next to him and informs him that he will be fine, that she will always take care of him. She was probably the transformed little girl. Again, either a defense mechanism for survival or the actual devil himself.
Toby finally has had his fill of the manipulation and pain and decides to ride off the set. He drives a sports car to the rustic outskirts of Rome away from the lights and scrutiny. Brilliant filmmaking here as his nocturnal high-speed sojourn takes him through areas that are active and populated during the day but that are disturbingly desolate and foreign at night. Nothing out there but gazing store mannequins, closed doors and windows, sleeping walls, aimless and useless drunks. His sports car, probably symbolic of the snowballing of his psychosis, encounters claustrophobic and frustrating blind alleys, narrow winding roads, barracades and detours. He might as well have been on another planet. His condition is exacerbated by the futility of his drive and the abrupt absence of people and feedback. He is now desparate to get back to the city [Rome] but can't seem to find a way back. He reaches a closed off break in the road where a bridge came down. On the other side he sees the little girl with her ball. He decides to high-speed it across but is decapitated by something he does NOT see. Fellini extended that fear we all occasionally get when a place we may or may not be familiar with becomes alienized in our minds because of hurry, mental disorder or lack of sensory input [i.e. light and sound] from our environment. A discordant, pretentious Bava-like ending but all is forgiven as the ride to this destination Fellini provides is quite an insightful and informative trip.
These three Poe stories were surreal depictions of the austerity of the human condition and its guises. All are journeys into oblivion as each lead character ends his/her life [not the type of film you would show at a support-group meeting]. Like each one of us, each character was a plastic and inquisitive child of the universe, replete with pride and so much potential, BUT each was misguided to a road that led to nowhere. Indeed, of tenuous and conflicted nurture and surrounded by depleting sycophants and users, the life of each was devoid of the heroes, the actuators, who could help them deter tragedy. Hopefully, you will still remember the guilt and transformation of Frederique, the irascibility and impulsivity of William Wilson, the helpless despair and descent of Toby years after watching this film, as I have.
Caution: Remember, this DVD is presented in French. The English subtitles appear in a slightly awkward font. DVD quality is excellent, however. Still waiting for the English-dubbed version that we all saw back in the 80's. Maybe the folks at Criterion can help.
FANTASY May 27, 2010
Michael Ledo (Windsor, SC United States)
A three-some with Bridget Bardot and Jane Fonda in French. What more could a 60's guy desire?
 This Version Is Not The Janus Version (as the reviews would suggest) February 18, 2010
James D. Sigrist (Portland, Oregon)
1 out of 1 found this review helpful
It's important to note here for those who are looking for an English language version of this film that this is it. This is not the Janus version with English subtitles and French dubbed actors. This version has it's own peculiar characteristics but it does have Terence Stamp's performance in English with his own voice. He is not dubbed if you choose the English version when viewing the film. Weirdly, the English subtitles cannot be turned off when you watch the film in English. The picture quality is not as good as the Janus version but to really appreciate the film you must see it with Terence Stamp's performance out of his own mouth in English. For some reason, all the reviews written for the Janus version of the film (including my own) have been attached to this version as well, though the two versions are completely different. (as noted) If you can buy a used copy, (the new copy price is absurd) you will get what so far is the only version of this film currently circulating in the US that gives you the choice of hearing Terence Stamp's performance in English. (and you can even read the English subtitles simultaneously to pick up a few more bits and pieces from other actors who are dubbed in English. Sound confusing? It is a bit weird. I notice that there is a newer European version listed with a still from the film of Toby for the cover. It is PAL though but it appears to possibly have all choices present as to whether or not Terence Stamp speaks with his own voice in English. Where is this for the US?
Poe (for all his European-ness) is still very American December 27, 2008
Wes Saylors Jr. (Boone, North Carolina)
1 out of 2 found this review helpful
Edgar Allan Poe may have been the most European of our 19th century writers and so, you would think, that three masters of European cinema would give him the understanding and visuals he deserves. Actually, not so. When filtered through the lenses of Roger Vadim, Louis Malle and Fellini, Poe comes out looking more American than ever (which is probably why no one has ever topped Roger Corman in bringing Poe to the screen). "Spirits of the Dead" isn't bad. In fact, it's really very good. But Poe would probably be a little embarrassed by the end result of this movie. Sure, Poe was symbolic ... but he wasn't THAT symbolic. Not Fellini symbolic. And certainly not as obvious as Vadim and Malle. But ...
Jane Fonda is absolutely beautiful and alluring as a spoiled princess who falls for her cousin (in fact, Peter Fonda plays this part ... now that's ripe with Poe and Freud and even Dr Westheimer) and then burns down his stables when he refuses her. One of the horses comes to haunt her and lots of pretty horse-riding ensues. All nicely photographed, and compelling (my vote for the best piece in the movie).
Alain Delon plays a soldier who is dealing with his double ... a nicer and more justice-driven person than he is. Every time Delon tries to kill, injure or humiliate, this doppelganger comes in and saves the day. Delon engages in a nifty sword fight with the double and then confesses to a priest before the final, kinda silly, climax. Perhaps the most obviously symbol-driven piece in the movie.
Finally, Fellini treats us to something so loosely based on Poe, we just forget that Poe was even a starting point. We watch Terrence Stamp (who, in his youth, may have been as pretty as Jane Fonda) as he drunkenly deals with all the demons fame and fortune has dealt him. He takes out his Ferrari for some therapy and some fast driving and headlessness ensue. This one is certainly the most visually arresting of the three stories and possible the most entertaining. One can go through this segment and find something new each time.
The three masters of European cinema don't quite get Poe right, and that's a puzzler. But they combine to treat us to a very unique take on a dark and symbolic American writer. For real cinematic Poe, go to Corman's "Masque of the Red Death." For an odd treat full of weird beauty and compelling performances, "Spirits of the Dead" is your ticket to ride.
Showing reviews 1-5 of 29
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