极度恐慌 +1983

《极度恐慌 +1983》PANIC; BE_)+ATS begins with a to/:ta l:ly
$ nude(?] woma=n ].?wi ;th we:)lts*% on her bod.y, run`],,ning through a
 mis= ty f=?o,rest f][ ull of de/#cayed skeleto(ns. A
knight on horseback is chas_/ing her, )and w@e soon lear)n that /%
he;/,(( is Alar^(ic ]:de Marnac (a ^w]`icked charac][^ter Nas#chy first cr]?ea,/ted for HORRO_?R?[ RISES FROM*) THE TOMB), viciously;# killing her f##=+or her unfaithful? ways. A/ fter*+ the credits role, ] w^-`e+`%% a#]re taken to the p)resent wh
(`
ere$ a des#$c@ e(n;,[dent of#? M\/arnac nam;ed Paul (N:^.asch($_y) is\
 m^.arried to t he we! althy Genevièv[

!e (Julia Sa(_ ly) was ha[:($s som e ser?io^us! heart probl)ems. Paul de
_*cid)(#es -to take *he.r=#;
 to h ^i$_s ance%`
?stral h[!ome i.n -th
e cou:*-ntry f-@o /r s .ome peace and quiet, .but the
supers*^ titious-f?ille;d setting opens a Pandora_’s# Box ?*of terrible occurr[_ences.　　We soon di(sc-=$#over  tha@t %Paul is a real son-of
-_a-bitch who plans to scare h)[is! wife to death, ] pl^`,^annin-
*g t/ o control h^er,.
fortune (+and =\con:tinue his secret affair with 
seductiv[=e b!ad girl,? /=Mireille+_[ (Si
=(lvia Miró), who ha?)ppens to ] be the* niece of th!e -_ :tarot/# card-#,reading hou.`seke
.e`*per, Mabile %#(Lola Gaos). Pau)l’s ma.levolent scheme/ works, but $he s%till has ]_

to worry about ,-;an additiona )l 
mon$!ey-hungry mistr_);e(\/ss? (%this guy rea%lly gets aro[+/und!), !)]the ` ?.un #forgiving@ @ Mabile, /as well !as n_$ew fi)!/ anceé Mire] il`!*le who ;might +/be hiding a thi^%ng or t-)wo herself. More grisly murders follow, and th -)e ghost o@f Ma
=rnac retur^ n^$;s (from hell_ to punish t
\he mo.`(s/;]?t despicable human c!/#=haracte*#r in\ the )]f=  il/m.　　#`;PANIC BEATS was also written by\]+ Nas,.chy (under his# rea;l name Jac`into+ Molina) who injec/`ts t/he film w%%ith an` ol-$d-fash:]io%%ned spooky`  hous+/@e motif, beefe=@d up with a mod!er!\!n movie sense of violence and#? sex; ua) lity. The;;  [\/ !f ilm of,$^fe @@rs nothing to+)o\: .)i?__]nnovativ!e storywise=%],!`
%a@`nd ev(.en Nasc;=hy a?dmits,][ :on th:# e d_
=isc’s extra-@.s that i*t +was pa?rtl :*y inspi?;^r%;ed [ by GASLIGHT and REBECCA, but he seems to just to.[-ss in $:a: hodgepo^_dge of ex,^(plo%itation and h-\%orro\*r i
]^(ngredients,#_ whil*e !delive-r?
#ing a stylish and*[ enj/o^ (,y;/(able#,? effort with a numb; -er)-= of twi:%?s !ts and some genuinely(, chi)llin !g moments. ** The camera shot .s and@,* #_% ligh\)t+#-i.ng ar,=`)e both /) effectiv#e, and th e;re's eve/n does a c`ool #se!,_\t# /$ -up=* (much -/l+ :ike what Fred`die Fran*(=_cis? did in THE\ SKULL and THE CREE;)PING FLESH) wh.ere w+/*e se/.?e. the point =$of v\iew of Marnac =th[rough his ^(dark helm+-et as /he s^-?ta!lks his fem-(ale ..\prey. _Grap hically, we a[[-\%re :ex^p _$ ose@,:d to everything f=\rom a pla te of 
.^bloody\ eye(` b)@alls, to vic-@tims bein#g beaten/ relentles[):sly with the v[ ^arious Medie.] val we.= a_p=*ons affixed on , the house’s wal.^l$s (for _`exa*.:mp/le, some+one is axed in t[_he stomach., followe^+d by the soa.-)ked entra.._ils oozing out!]*). Naschy’[(s mos t freq%,uent 1980!_+s leading lady, Juli
)a Saly, is not given=[` #:mu,\$ch to do, but*; with her
 of
. f!beat looks, is a nice presen=$c`e$ no,/nethele_+ss. The pr)^ominent@^$ f? emale star here+ ,
#is Si`;lvi!a + Mir $ó who is seen i n the buff - fre @quently, 
*.and she ][cert[ai nly m a,k es: for s?$,ome we%[?ll-appreciat.ed Euro star .[let (eye candy. Naschy hi@
mse`lf is v e$ ry go_)od ^_in].% the `(film,+( putt%i,:ng on conn$%iving faca_;%[des;, carry\:
\ing a` ? number of women on a string,