As I have said 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 character 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 always found that a little Luciana makes any film go down easier. My most recent confirmation of this: the 1972 Italian supernatural cult item "Tragic Ceremony" (or, as it was called 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 small 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 free 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 Lord Alexander (the great Luigi Pistilli, who, that same year, starred in the wonderfully named and just plain wonderful "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 later would star in the infamous "I Spit on Your Grave," a film 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 films include Italy's first of the sound era, "I Vampiri" (1956), and the Barbara Steele vehicles "The Horrible Dr. Hichcock" (1962) and "The Ghost" (1963), "Tragic Ceremony" was one of this great 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 create 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 great 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 film all the way to the end, as all four of our young protagonists begin to meet horrific ends (the sight of one of the four, his corpse countenance quite literally blue in the face, should linger in the memory for quite a while!). The film employs brief flashbacks and flash-forwards to accentuate the feeling of dislocation, and there is just no way for any viewer to predict what will come next, in this truly bizarre outing. Ultimately, the film just barely hangs together, with the question of that darned necklace still, uh, dangling before us; even a doctor's "explanation" of the wacky events we've seen, as the film closes, barely begins to cover it. I should 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 good news: The Dark Sky Films DVD on which "Tragic Ceremony" can now be found is a nice-looking one indeed, with excellent subtitling, a decent image, and one excellent 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 kind of gal who'd participate in a Black Mass ceremony, that's for sure!

Ricardo Freda, a well regarded director in the history of Italian cinema (along with contemporaries like Mario Bava who accepted 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 happening to Keaton throughout the film after the incident during the "tragic ceremony")in ridiculous detail (the one doing so hasn't been seen at all throughout the film and shouldn't have any knowledge whatsoever about any of what was occurring to Keaton), but if you like films that are "out there", maintaining an oddball mood, then perhaps "Tragic Ceremony" is your kind 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 Lord Alexander and Lady Alexander's castle, all killing each other (!) after a human sacrifice is interrupted takes place), but "Tragic Ceremony" allows Carlo Rambaldi to showcase his gruesome special effects which includes 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 Lord Alexander, have minor supporting 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 film has going for it. Once the film leaves the Alexander castle, I felt the film never quite recovers—it seems as if the film was built for the portion within the castle while everything else seems less inspired, although a subplot involving trust fund baby Bill (Tony Isbert) and his adulterous mom is given some time. Not sure what to make of Bill's fate, with the green make-up. There's also a weird additional 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 begin with. Máximo Valverde is Keaton's lover and Giovanni Petti is the tagalong guitar playing crooner of the foursome. Interesting footnote is the use 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.

Few international starlets have gained as much notoriety from such a limited filmography as Camille Keaton, and not without due cause: "I Spit on Your Grave" was made a must-see cult favorite by the condemnations of Siskel & Ebert, while her other films have remained in relative obscurity. "Tragic Ceremony" is an early Keaton offering, an Italian-made mindscrew that takes aim at the '60s hippie culture and the eccentricities of the bourgeoisie, while crafting a fairly suspenseful, surrealistic tale in the vein of Roman Polanski's "paranoid-apartment-dweller" trilogy and the art-drenched works of Mario Bava. The ringmaster of this free-association nightmare is Riccardo Freda, who uses a lot of avant-garde techniques (the shaky-hand-held motorcycle ride; the wide-angle 'ceremony'; low angles and long shots) to establish a purposely inconsistent mood--it's a disorienting experience that uses a cliché setup (freewheeling hippies vacationing in the country run afoul of rich Satanists) to subvert our expectations time and again; the 'climax' seems to occur midway through, and just when we wonder where else the story could possibly go, Freda extends his creepy surrealism right up to the end (even if the final scene is marred by an overly awkward explanation that isn't really necessary). Even the violent moments (while clearly the product of a low budget) transpire in a style that exists somewhere between reality and the exaggeration of a dream. And, of course, Keaton is wonderful to watch, possessing the kind of understated demeanor that made her signature performance in "I Spit" so memorable. Now that it's on DVD, there's not excuse for any fan of Euro-horror to miss this "Tragic Ceremony."

This somehow odd film from Italian Cult Gothic Horror director Freda ("L'Orribile Segreto del Dr. Hichcock") is almost unknown and extremely difficult to find nowadays.Made a year after his rough Giallo "L'Iguana Dalla Lingua di Fuoco" (see also my comment on that), the title suggests yet another Giallo (it means "Taken From the Secret Police Files of a European Capital" and fits perfectly into typical over long and wonderful Giallo titles like "Il Tuo Vizio e una Stanza Chiusa e Solo Io ne ho la Chiave" of the same year). But, in fact, this film is not a Giallo at all - but a Gothic horror story about a cursed pearl necklace and a strange Satan's Cult which gets confronted by a hippie quartet on a day out. The story sounds unique, and the film is it, too.Made on a very low budget, Freda made more than the best out of it and created a strange movie with all the classic Gothic elements, and also boosts a handful of astonishing gore effects 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 another neat performance as the leader of the strange Cult. The soundtrack is composed by Stelvio Cipriani and is cool as usual. A film worth looking for despite its rarity.