Marina Hedman (Maria), Aldo Sambrell [Aldo
Aguilar family are dispatched by the vengeful
Sanchez Brell] (Antonio Aguilar), Alfonso Gaita
spirit…
(Ignazio Aguilar), Joe Davers [Giuseppe Car-
“Remaking Malabimba was a stupid move.
bone] (Isidro), Giancarlo Del Duca (Dr. Juan
I didn’t want to do the sex scenes. I felt used,
Suarez). PROD: Gabriele Cristanti for Filmarte;
abused and exploited,” Mariangela Giordano
PM: Gabriele Crisanti; PS: Marcello Spingi; PSe:
commented about her last film with her then-
Gianfranco Fornari, Giancarlo Straniero, Mirella
partner, producer Gabriele Crisanti, which
Cavalloro. Country: Italy. Filmed on location at
marked not only the end of their artistic collab-
the Castle Piccolomini, Balsorano, Palazzo
oration, but of their personal relationship as
Braschi (Rome) and at Icet- De Paolis Studios
well. Between 979 and 98, Crisanti had in-
(Milan). Running time: 74 minutes (m. 2024;
volved the actress in a handful of flicks that
softcore version); 88 minutes (hardcore version).
stand out among the most extreme products of
Visa n. 77904 (6..982); Rating: V.M.8. Release
the era, because of their sheer amount of sex and
dates: 2.2.983 (Spain, softcore version),
violence: Mario Landi’s Giallo a Venezia and
7.29.983 (Italy); Distribution: Film 2. Domestic
Patrick vive ancora, and Andrea Bianchi’s Mal-
gross: n.a. Also known as: Orgasmo di Satana
abimba and Le notti del terrore.
(Italy; hardcore version); La hija de Satanás
In a shameless recycling move, Crisanti and
(Spain), Dr. Porno und sein Satanszombie (Ger-
screenwriter Piero Regnoli opted for a retelling
many; hardcore version); Sexorgien im Satan-
of Malabimba with minimal changes, even re-
schloß (Germany; softcore version).
casting Giordano in the same role as the unfor-
In a remote Spanish castle, the Aguilar
tunate nun who becomes the spirit’s last victim.
family is mourning the passing of Countess Maria,
The malevolent spirit who possesses the teenage
2 1983: La bimba girl is that of the mysteriously deceased Countess
normal powers who would be in a trance in sev-
Maria (we will later find out that she has been
eral scenes.4 The project never took off.
murdered). She proceeds to kill her heroin-
Apart from the sex scenes, Hedman’s acting
addicted widower, his wheelchair- bound brother-
consists mostly in lying still over a grave in the
in-law, the family doctor, a novice named Sol—
nude, pretending to be dead. Giordano, for her
all of them her previous lovers—and a scary-
part, takes off her clothes with admirable abne-
looking butler who is also an expert on the su-
gation, and a scene where her character washes
pernatural, and who concocted an arcane ritual
Ignazio’s pubic area with a damp cloth testifies
to bring her back to life. In the end, the infamous
to the actress’ willingness to do anything for
lesbian seduction- cum-fisting scene of the 979
Crisanti. As for the elusive Jacqueline Doupré,
film is replaced by a Sapphic interlude atop a
who reprises Katell Laennec’s role in Malabimba
tomb between Maria and Sol which ends, as in
and, despite amply showing her body, does not
Venus d’Ille, with the novice being crushed to
perform any explicit sex scene, she mustn’t be
death between her lover’s arms, possibly evidence
confused with the French porn actress
of Regnoli’s literary erudition rather than an un-
Catherine Doupré. Bianchi recalled: “Jacqueline
likely homage to the late Mario Bava.
Doupré was a stage name, because she was a gal
Unlike most of Crisanti’s earlier sex-
horror hybrids, the target for La bimba di Sa-
tana was the hardcore porn market, which by
then was in full bloom. The casting of Marina
Hedman Bellis, then Italy’s most famous porn
star (better known to the public as Marina
Frajese, or Marina Lothar), was telling, as was
the presence of Alfonso Gaita, a regular of
early Italian hardcore. Director Mario Bianchi
(Roberto Montero’s son, and only a namesake
of Malabimba’s director Andrea Bianchi) cast
his friend Aldo Sambrell, a recurring presence
in the director’s early Westerns, as the repug-
nant, drug- addicted Antonio Aguilar: “When
there was need of this kind of father figure, or
a king like in Biancaneve & co., I called him,
and he came over, for two farthings, and
sometimes he did not even get to have those!”2
Bianchi was probably relying on Sam-
brell to sell the product in the latter’s home
country (hence the Spanish setting). The
actor was even involved in one of the non-
simulated sex scenes with Marina Hedman,
which he later recalled as follows: “We had
to shoot a love scene, Marina and I… Well, I
was lying on the bed, waiting for her, and
when she showed up we started making out;
after a while I realized that she was doing
it for real and I had to stop her and call
Crisanti, the producer, because I could not
work that way.”3 Sambrell was replaced by
Gaita for the explicit close- ups. As for the
weird- looking character actor Giuseppe
“Pino” Carbone (credited as “Joe Davers”),
he was a self- appointed clairvoyant: a couple
of years earlier the press reported that Car-
bone was about to direct a feature- length film
the Italian poster for La bimba di Satana (1983),
titled La fattura, starring people with para-
inspired by Boris Vallejo’s 1979 painting Vampire’s Kiss.
1983:La bimba
3
who lived in Ostia, but I can’t remember the real
the Public Cinematographic Register filming
name, and however I think the poor girl only
started on August 77), La bimba di Satana was
did this movie.” One can understand why, since
submitted to the rating board in June 982, in a
Doupré pales in front of her model, and in fact
softcore version which ran slightly over 73 min-
she is actually given little to do in the film.
utes and got away with a V.M.8 certificate after
Compared with the already threadbare
a cut (for about 2 seconds) in the sex scene be-
narrative of Malabimba, La bimba di Satana
tween Hedman and Sambrell, in “the part where
gives new meaning to the word “minimalistic.”
the woman’s mouth slides over her husband’s
The cast comprises only seven people (plus a
lower belly.” The board justified the rating not
rotten- looking zombie mummy that pops up
only because of the abundant sex and nudity,
just in time to dispatch the butler), who for most
but also because of the rooster sequence as well
of the running time wander in the empty castle,6
as the bit in which Sambrell’s character shoots
its crypts and dilapidated surrounding, in long,
heroin, which “lingers on the technique to inject
dialogue- less sequences accompanied by Nino
drugs.” It was released only the following year,
Catanese’s score, which combines Goblin- esque,
in late July 983.
keyboard- driven parts, eerie chants and dis-
Crisanti likely attempted to have it both
torted guitars. The ghost story elements are
ways, with an erotic horror movie that could be
barely sketched too: in a lengthy sequence Isidro
safely distributed in regular theaters as well as an
the butler falls into an epileptic trance in the
out- and-out porn version. However, the latter, ti-
crypt while evoking the spirits of the dead, with
tled Orgasmo di Satana, likely fell into oblivion,
the camera following his grimaces and convul-
and over the years Bianchi and Crisanti repeatedly
sions in close- up, and a subjective POV shot
denied its existence, despite the scant running
traverses the empty halls and corridors, accom-
time of the existing prints would suggest other-
panied by heavy breathing on the soundtrack,
wise.8 It finally resurfaced in 2007 on German
to Miria’s bedroom. It climaxes with Isidro
DVD.9
biting the neck off a rooster like a sideshow
The hardcore version credits Bianchi with
geek.
his own name and includes five sequences not
When the actors open their mouth, it gets
included in the softcore prints (where the direc-
worse. Isidro’s monologues are a hodgepodge of
tor is credited as “Alan W. Cools”). First is the
lowbrow mysticism, and when Sambrell’s char-
two- minute pre- credit (simulated) lesbian se-
acter becomes verbally abusive toward Sol, he
quence between Mariangela Giordano and Ma-
comes up with such laughable lines as “Even
rina Hedman. It is shot from below and has the
though you’re not a nun yet, desecrating a temple
hand- camera slowly circling around the two
has always been my dream!”
women: Marina is kneeling as in adoration be-
Admittedly, Bianchi tries to inject some style
fore the other woman, who is standing atop a
in the proceeding. He makes use of tracking
table like a living statue and wears only white
shots, and even films a scene in a long take,
stockings, and the shots of the two lovers are in-
when Antonio takes his wheelchair- bound
terspersed with images of the frescoes on the
brother Ignazio to the crypt to let him die of
place’s walls and ceiling. The other four se-
starvation (Ignazio will meet another grisly fate,
quences are Giordano’s lengthy masturbation
not before being orally pleasured by Maria’s
scene, which features next- to-hardcore details;
ghost). The camera, placed on the wheelchair
a hardcore scene (about six minutes long) in-
between Gaita’s feet, accompanies the two actors
volving the Swedish actress and Gaita, which
in a low- angle shot across the rooms of the
restages the infamous fellatio scene of Mal-
castle, as Sambrell hams it up, exposing his
abimba, for what can well be the movie’s pièce
deadly plan while pushing the wheelchair and
de resistance; the aforementioned four- minute
Gaita impassively listening to him (the character
hardcore sequence between Hedman and Sam-
is supposed to be a vegetable after a stroke)
brell, with the latter replaced by Gaita in the
while using only his eyes to simulate concern—
hardcore close- ups; and, finally, a brief Sapphic
a moment which at least shows an attempt at
scene between Giordano and Doupré.
mise-en-scène, in a movie which otherwise lacks
Despite the director’s assurance that the film
any semblance of rhythm, suspense, and narra-
“performed very well worldwide,”0 La bimba di
tive progression.
Satana was released theatrically only in Spain,
Shot in the Summer of 98 (according to
in 983, several months earlier than in its home
4 1983: Zeder country, in a softcore version titled La hija de
Belletti (Don Emidio), Paolo Bacchi (Mr. Big’s
Satanás.
Secretary), Giuseppina Borione (Helena, First
Victim), Imelde Marani (Nurse), Gianluigi Gas-
Notes
pari, Carlo Schincaglia (Don Luigi Costa), Lu-
1. Alan Jones and Mark Ashworth, “Diva Divina. The
ciano Bianchi, Pino Tosca, Giovanni Bussadori,
Mariangela Giordano Story,” in Stefan Jaworzyn (ed.),
Sergio Lama, Giuseppe Lentini, Giancarlo Ban-
Shock Xpress #2 (London: Titan Books, 994), 72.
dini; uncredited: Ghilka Muzzi Matteuzzi (Ms.
2. Stefano Ippoliti and Matteo Norcini, “Mario
Hubert). PROD: Gianni Minervini and Antonio
Bianchi. Il mio cinema pizza e fichi,” in Cine 70 e dintorni
#, Summer 2004, 28.
Avati for A.M.A. Film (Rome), with the collab-
3. Gian Luca Castoldi, “Aldo Sambrell. L’uomo che
oration of Enea Ferrario for RAI- Radio Televi-
morì 000 volte,” Amarcord #6, January/February 999,
sione Italiana; PM: Francesco Guerrieri; PS:
84.
Luca Bitterlin; PSe: Rosa Mercurio; ADM: Raf-
4. Reported in Cinema d’oggi, September 2, 979.
faello Forti; Cash: Francesca Moneta. Country:
5. Ippoliti and Norcini, “Mario Bianchi. Il mio cinema
pizza e fichi,” 28.
Italy. Filmed on location in Bologna, Milano
6. The castle seen in exterior shots is Castle Piccolo-
Marittima and Cesenatico, Chartres (France)
mini in Balsorano, whereas the indoor scenes were filmed
and at R.P.A. Elios Studios (Rome). Running
at Palazzo Braschi, in Rome.
time: 00 minutes (m. 27). Visa n. 7886
7. Filming was also reported in Cinema d’oggi, Sep-
tember 22, 98. The script deposited at Rome’s CSC is
(2.9.983); Rating: V.M.4. Release dates:
dated July 98.
8.0.983 (Italy), .8.984 (USA); Distribution:
8. The Italian softcore version released to VHS on the
Gaumont (Italy), Motion Picture Marketing
Video Arcadia label ran only 64 minutes.
(USA). Domestic gross: 334,000,000 lire. Also
9. The U.S. DVD release, on the Severin label (as
known as: Revenge of the Dead (USA), Zeder—
Satan’s Baby Doll), includes the softcore cut, whereas the
German one, on the X- Rated label and with the title Dr.
Denn Tote kehren wieder (West Germany)
Porno und sein Satanszombie, is the hardcore version.
Chartres, France, 1956. In an isolated villa
,
10. Ippoliti and Norcini, “Mario Bianchi. Il mio cinema
Dr. Meyer conducts an experiment with the assis-
pizza e fichi,” 28.
tance of a young girl with psychic powers, Gabriella
11. According to the official ministerial data, it was seen
by 20,230 spectators and grossed an amount corresponding
Goodman, to find the grave of the mysterious Paolo
to about 30,200 euro. (http:// infoicaa. mecd. es/ CatalogoICAA/
Zeder. Gabriella is attacked and mutilated by a
Peliculas/ Detalle?Pelicula= 76).
monstrous being, and human remains are found
in the villa’s basement, which Meyer identifies as
Zeder (Revenge of the Dead)
Zeder. Bologna, 1982. A young novelist, Stefano, is
D: Pupi Avati. S: Pupi Avati; SC: Pupi Avati,
given by his wife Alessandra an old typewriter as
Maurizio Costanzo, Antonio Avati; DOP: Franco
a present. Stefano notices on the old ribbon a mys-
Delli Colli (Technovision-Telecolor, Kodak); M:
terious message about the so- called “K-Zones,”
Riz Ortolani (Ed. New Point); E: Amedeo Salfa;
areas where death ceases to exist and bodies can
PD: Giancarlo Basili, Leonardo Scarpa; CO: Steno
return from the afterlife, which had been researched
Tonelli; MU: Alfonso Cioffi; AD: Cesare Bastelli;
in the early 1900 by a scientist named Paolo Zeder.
APD: Laura Casalini; C: Antonio Schiavo Lena;
Intrigued, Stefano starts investigating, and becomes
AC: Andrea Barbieri; AE: Piera Gabutti; 2ndAE:
increasingly obsessed with the mystery around
Loretta Mattioli; SO: Raffaele De Luca; B: Paolo
Zeder and the K- Zones. His investigation leads him
Cottignola; Mix: Romano Checcacci; SOE: Lu-
to a secluded area near Rimini, where a team of
ciano Anzellotti, Massimo Anzellotti; SP: Pier-
scientists from the Vatican, led by Dr. Meyer and
maria Formento; SS: Fiorella Lugli; W: Luisa
Ms. Goodman, are conducting secret experiments
Cavazza, Clara Masina Berti; PrM: Faliero Reg-
with surveillance cameras and monitors. The prop-
giani. Cast: Gabriele Lavia (Stefano), Anne
erty is sited on a K- Zone, and the object of the ex-
Canovas (Alessandra), Paola Tanziani (Gabriella
periments is a dead defrocked priest, Don Luigi
Goodman), Cesare Barbetti (Dr. Meyer), Bob
Costa. Stefano, who has rented a room in a nearby
Tonelli (Mr. Big), Ferdinando Orlandi (Giovine),
motel, witnesses Costa’s return from the dead as a
Italian Gothic Horror Films (1980-1989) Page 34