Adicionar um enredo no seu idiomaHopeless American expatriates inhabit a small Spanish village where residents are mysteriously dying after the arrival of a religious cult.Hopeless American expatriates inhabit a small Spanish village where residents are mysteriously dying after the arrival of a religious cult.Hopeless American expatriates inhabit a small Spanish village where residents are mysteriously dying after the arrival of a religious cult.
Domingo Codesido Ascanio
- Salt
- (as David Carpenter)
Alibe Parsons
- Susannah
- (as Alibe)
Enredo
Você sabia?
- CuriosidadesDennis Hopper and Carroll Baker had previously worked together on Assim Caminha a Humanidade (1956) 18 years earlier.
- Cenas durante ou pós-créditosIntroductory epigram, immediately following opening titles: But I do nothing upon myself...and yet I am mine own Executioner--John Donne
- ConexõesFeatured in Cruel, Usual, Necessary: The Passion of Silvio Narizzano (2024)
- Trilhas sonorasNatural Me
by Georgann Rea and Marian Montgomery
Avaliação em destaque
BLOODBATH opens with a woman walking the world's ugliest pig. No, really, you've got to see this thing! Next, a woman pulls the head off of a chicken. We get the immediate impression that something wonky is going on here, since none of the locals seem to have been born with the ability to smile. That is, unless they happen to be leering maniacally.
In total contrast to this, a very non-twelfth century-looking woman appears, dressed in groovy threads. She enters a building where western music plays. Her name is Susanna (Alibe Parsons), and she's met by the heroin-filled, racial slur-spouting, Chicken (Dennis Hopper). They're part of a misfit group of expatriates, living together in this tiny, ultra-religious village in Spain, and they stick out like ballerinas in a bowling alley.
These two groups are set against each other, as scenes of a religious festival is intercut with the hedonistic frivolity of the foreigners. Does anyone see a catastrophic culture clash coming?
Enter the fun-loving ex-movie star, Treasure Evans (Caroll Baker). She's sort of a younger version of Nora Desmond, and another part of this oddball bunch of bananas, that includes an aging WWII General and a mega-flamboyant gay man. They're a family, clinging together in order to be themselves, in spite of their increasingly oppressive surroundings. We get the impression that none of them could survive alone.
When these exiles gather for a Good Friday celebration, their drunken revelry flies in the face of the solemn procession going on beside them. Things have been tense and creepy all along, and the atmosphere gets really thick from here on out!
Soon, the darkness, religious insanity, and death take over completely.
This is one of those wonderfully weird, disturbing films that could only have come out in the 1970's. Filled with bizarre situations and an overhanging sense of gathering, unstoppable doom, the horror bubbles up like a corpse in a bog!
Mr. Hopper is as good or better here than in many of his outings, playing it natural, and letting it fly! For those who've never seen him go absolutely berserk, well, he certainly does that here!
SOME NICE TOUCHES: Watch for the red telephone! And, what's up with the pregnant woman with the umbrella?...
In total contrast to this, a very non-twelfth century-looking woman appears, dressed in groovy threads. She enters a building where western music plays. Her name is Susanna (Alibe Parsons), and she's met by the heroin-filled, racial slur-spouting, Chicken (Dennis Hopper). They're part of a misfit group of expatriates, living together in this tiny, ultra-religious village in Spain, and they stick out like ballerinas in a bowling alley.
These two groups are set against each other, as scenes of a religious festival is intercut with the hedonistic frivolity of the foreigners. Does anyone see a catastrophic culture clash coming?
Enter the fun-loving ex-movie star, Treasure Evans (Caroll Baker). She's sort of a younger version of Nora Desmond, and another part of this oddball bunch of bananas, that includes an aging WWII General and a mega-flamboyant gay man. They're a family, clinging together in order to be themselves, in spite of their increasingly oppressive surroundings. We get the impression that none of them could survive alone.
When these exiles gather for a Good Friday celebration, their drunken revelry flies in the face of the solemn procession going on beside them. Things have been tense and creepy all along, and the atmosphere gets really thick from here on out!
Soon, the darkness, religious insanity, and death take over completely.
This is one of those wonderfully weird, disturbing films that could only have come out in the 1970's. Filled with bizarre situations and an overhanging sense of gathering, unstoppable doom, the horror bubbles up like a corpse in a bog!
Mr. Hopper is as good or better here than in many of his outings, playing it natural, and letting it fly! For those who've never seen him go absolutely berserk, well, he certainly does that here!
SOME NICE TOUCHES: Watch for the red telephone! And, what's up with the pregnant woman with the umbrella?...
- Dethcharm
- 8 de jun. de 2021
- Link permanente
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By what name was Las flores del vicio (1975) officially released in India in English?
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