I sat to watch with expectations of a softer variety of genre film, and I wasn't entirely wrong. Even in Italy's rich cinematic history, the more robust sort of horror is rarely this beautiful to behold. Between the keen eyes of both director Massimo Pupillo and cinematographer Oberdan Troiani most every shot is plainly gorgeous if not outright brilliant; even the early sequence that includes the first instance of violence is a tiny feast for the eyes. This is to say nothing of the stupendous filming locations, the lavish, detailed production design and art direction, or the costume design, hair, and makeup that were all shaped with equal attentive care. Even the lighting and sound are deeply gratifying, nevermind those effects which are employed. Furthermore, from the start there's a measure of gracefulness and effortless, nuanced poise in the acting, not least from Barbara Nelli, and in the appropriate select instances such presentation deftly belies the understated severity of some characters. Then there's the tremendous, dynamic score of Piero Umiliani, in turn achingly lovely and bittersweet, and piercing and unnerving in its most dramatic chords. From top to bottom 'La vendetta di Lady Morgan,' or 'Lady Morgan's vengeance,' is utterly superb in its aesthetics, making it an experience not to be missed by this measure alone. How many of the most celebrated genre pieces can say the same?
Indeed, the picture begins gently, coming off more as a straight drama in its tone, its craftsmanship, and in the earliest story beats to greet us. Yet in its comparatively minute runtime of under one and one-half hours, it also doesn't take long for the tale to begin to take on a more sinister form. Between those dazzling aesthetics and the developing tenor of the narrative one can easily imagine how this may look had it been made in the United States, probably starring Vincent Price in a key role. There may not be any witches or monsters here, but there is a gothic darkness that lies thinly veiled beneath the outward prettiness, and the ominous gloom in Edward Duncan's story comes out as the plot progresses. We're given a saga of very human greed and cruelty, manifesting in not just murder but in scheming manipulation which adds a discrete psychological element to the proceedings, as the title character marries her suitor and comes home to a manor that drives her mad. None of this is secret; Gianni Grimaldi penned his screenplay in such a fashion that we can guess quite easily and early where the narrative is headed. Yet that narrative and each scene in turn are so wonderfully striking, compelling, and absorbing that the predictability is a non-issue - with truly masterful film-making and music bolstering a story that's already momentously, grimly flavorful, this becomes captivating in no time at all.
One might argue that some odds and ends are ill-fitting amidst the otherwise excellence: a curious flourish of a transition here, an overly exaggerated bit of acting there. Yet such minutiae are pointedly minor - rather negligible, really - when compared to the bountiful strength that 'La vendetta di Lady Morgan' otherwise boasts. Nelli may stand out the most, but her co-stars are just as terrific, including Erika Blanc, Paul Muller, and Michel Forain. By the time the feature reaches its third act, having moved from ordinary drama, to subtle wickedness, and at last to open spectacle and ugliness as the name comes to bear, we've been taken on such a magnificent journey by the powers of all facets combined that, by all reason, there's no meaningful fault to be found. The story adopts a wide arc from beginning to end, which makes it all the more impressive that it transpires in under ninety minutes in a manner that feels perfectly natural, with no pacing troubles in sight. Yes, to some extent it does represent a softer variety of horror, yet well before all is said and done, we get that more robust sort after all, and the sum total is immensely entertaining and satisfying. In fact, I dare say this is one of the best horror movies I've watched recently. As a matter of personal preference it won't appeal to all comers, but for my part I find 'La vendetta di Lady Morgan' to be an underappreciated treasure of a classic, and I'm pleased to give it my very high, hearty, and enthusiastic recommendation!
