The ambitious screenplay to this gothic psychological thriller by Christopher
Wicking, based on a story by its producer Frank Godwin, is somewhat
confusing despite an admirable attempt to explore new themes of the
genre. Director Peter Sykes at least makes sure the proceedings are
excellently paced and the locations are visually refined. The stylish
film was a Hammer production and an attempt by the studio to break into
new horror avenues but co-financers EMI were unimpressed and ensured
it received only a limited release and was duly a commercial failure.
The cast is headed by former Manfred Mann lead singer Paul Jones but
the acting honours are taken by Patrick Magee’s suitably sinister
doctor, a wildly overacting Robert Hardy’s barmy Baron, Gillian
Hills’ vulnerable Elizabeth and Shane Briant’s superb brother
Emil.
Emil (Shane Briant) and Elizabeth (Gillian Hills) are the son and daughter
of Bavarian Baron Zorn (Robert Hardy). Elizabeth escapes from her Aunt
Hilda (Yvonne Mitchell) whilst returning home from Vienna, where she
has been a patient in the sanatorium of psychoanalyst Falkenburg (Patrick
Magee). She escapes from the carriage and takes refuge with handsome
young student Carl Richter (Paul Jones) in his lakeside cabin, but is
quickly recaptured and returned to the family home, where Baron Zorn
keeps the entire family prisoner, believing them to be victims of hereditary
insanity and incest. Falkenberg travels to the family home in order
to continue his research.
There are a series of murders taking place in the nearby village, where
young girls are strangled and their corpses covered in rose petals.
It’s left to Falkenberg to discover the truth by re-enacting the
past using a serving girl dressed in Baron Zorn’s dead wife's
clothes. Meanwhile, the outraged villagers are preparing to take action
of their own and Richter arrives hoping to save Elizabeth.