Spirits of the Dead
by Federico Fellini, Louis Malle, Roger Vadim
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DVD Cover Information
Actor: Alain Delon, Brigitte Bardot, James Robertson Justice, Jane Fonda, Terence StampDirector: Federico Fellini, Louis Malle, Roger Vadim
Brand: Image Entertainment
Writer: Federico Fellini
Writer: Bernardino Zapponi
Writer: Clement Biddle Wood
Writer: Daniel Boulanger
Writer: Edgar Allan Poe
DVD: Region Code 1
Audio: French (Original Language), Dolby Digital 2.0 Mono; English (Subtitled)
Format: Anamorphic, Color, DVD-Video, NTSC, Subtitled, Widescreen
Picture Format: 1.75:1
Running Time: 121 minutes
DVD Release Date: 2001-11-27
Audience Rating: R (Restricted)
Studio: Homevision
Movie Reviews of Spirits of the Dead
Movie Review: Poe (for all his European-ness) is still very American
Summary: 4 Stars
Edgar Allan Poe may have been the most European of our 19th century writers and so, you would think, that three masters of European cinema would give him the understanding and visuals he deserves. Actually, not so. When filtered through the lenses of Roger Vadim, Louis Malle and Fellini, Poe comes out looking more American than ever (which is probably why no one has ever topped Roger Corman in bringing Poe to the screen). "Spirits of the Dead" isn't bad. In fact, it's really very good. But Poe would probably be a little embarrassed by the end result of this movie. Sure, Poe was symbolic ... but he wasn't THAT symbolic. Not Fellini symbolic. And certainly not as obvious as Vadim and Malle. But ...
Jane Fonda is absolutely beautiful and alluring as a spoiled princess who falls for her cousin (in fact, Peter Fonda plays this part ... now that's ripe with Poe and Freud and even Dr Westheimer) and then burns down his stables when he refuses her. One of the horses comes to haunt her and lots of pretty horse-riding ensues. All nicely photographed, and compelling (my vote for the best piece in the movie).
Alain Delon plays a soldier who is dealing with his double ... a nicer and more justice-driven person than he is. Every time Delon tries to kill, injure or humiliate, this doppelganger comes in and saves the day. Delon engages in a nifty sword fight with the double and then confesses to a priest before the final, kinda silly, climax. Perhaps the most obviously symbol-driven piece in the movie.
Finally, Fellini treats us to something so loosely based on Poe, we just forget that Poe was even a starting point. We watch Terrence Stamp (who, in his youth, may have been as pretty as Jane Fonda) as he drunkenly deals with all the demons fame and fortune has dealt him. He takes out his Ferrari for some therapy and some fast driving and headlessness ensue. This one is certainly the most visually arresting of the three stories and possible the most entertaining. One can go through this segment and find something new each time.
The three masters of European cinema don't quite get Poe right, and that's a puzzler. But they combine to treat us to a very unique take on a dark and symbolic American writer. For real cinematic Poe, go to Corman's "Masque of the Red Death." For an odd treat full of weird beauty and compelling performances, "Spirits of the Dead" is your ticket to ride.
Summary of Spirits of the Dead
Three giants of world cinema conspire to bring the dark prose of Edgar Allan Poe to the screen in Spirits of the Dead. Roger Vadim, Luis Malle, and Federico Fellini direct Jane and Peter Fonda, Brigitte Bardot, Alain Delon, and Terence Stamp in three separate stories of souls tormented by their own phantasmal visions of guilt, lust, and greed. In a stunning new transfer enhanced for 16X9 televisions, Home Vision Entertainment is pleased to present this marvelous volume of the macabre.An irresistible and guilty pleasure, this anthology based on stories by Edgar Allan Poe is a rare opportunity to see three of the biggest names in 1960s European film direction working in the short form. The results are uneven, but so what? They're also plain outrageous. Roger Vadim's Metzengerstein stars real-life siblings Jane and Peter Fonda perversely cast as lovers. When the latter dies, Jane's character turns to a mysterious black stallion for companionship, the suggestion being that the dead man's spirit is within the horse. Both corny and vaguely lurid, this ghost tale is Vadim all the way. Louis Malle's William Wilson is an in-your-face take on Poe's classic doppelg?nger fable, starring Alain Delon as a blackguard who gets his comeuppance from a nicer variation of himself. More craftsman-like than cinematically bold, the film displays the kind of crisp wit Malle didn't display often enough. Finally, Federico Fellini's Toby Dammit proves to be the most interesting piece in the trio, featuring Terence Stamp in a terrific performance as an actor at the end of his rope (the equivalent of Mastroianni's burned-out director in Fellini's 8?), who has come to Rome to star as Christ in a New Testament Western. Dense with Fellini's dreamy textures and iconic clutter, Toby Dammit is a fun experience. --Tom Keogh
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