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This was "Scream Queen" Barbara Steele's last of nine Italian horror films (for the record, I've still got TERROR CREATURES FROM THE GRAVE [1965] and THE SHE-BEAST [1966] to catch up with) and the one that was hardest to come by until recently. With this in mind, the print on display still left a lot to be desired – panned & scanned, fuzzy picture quality and the audio filled with extraneous noise (particularly during the second half…where it seems that someone's tapping on computer keys somehow got mixed in with the film's soundtrack, recalling a similar incident found on the original DVD of SON OF Dracula [1943]!).

AN ANGEL FOR Satan – the title, by the way, is a misnomer – was also probably the last of the vintage Gothic Horror outings from this country to be shot in black-and-white (imbued with a touch of poetry not easily replicated by the more delirious color titles). Incidentally, I'd watched director Mastrocinque's sole other foray (also in monochrome) in the genre – the "Carmilla" adaptation CRYPT OF THE VAMPIRE (1963), starring another horror icon in Christopher Lee – which I remember liking quite a bit, but whose recording (made off late-night Italian TV) I subsequently foolishly erased. To get back to Steele's European output, a common thread running through most of them is that she plays a look-alike descendant of some diabolic ancestor (beginning with the very first, Mario Bava's seminal BLACK Sunday [1960]) – and this one's no exception though, in its case, she emerges to be more of a victim (which, I guess, is what the title is ultimately alluding to). Having mentioned Bava, while his one picture with Steele was the director's official debut, his swansong – the fascinating (made-for-TV) THE VENUS OF ILLE (1978) – actually shares much of its plot line with AN ANGEL FOR Satan! Indeed, here we also have the discovery of an ancient statue bringing a series of calamities upon a small community consumed by superstition – and where the blame is placed at the doorstep of newly-arrived Lady of the Manor Steele (since the figure was made in the image of her forebear).

An interesting (if unlikely) twist is that the woman of the past played by Marina Berti – who, jealous of Steele's popularity with the menfolk, had tried to destroy the statue but tumbled down along with it into the river beneath – also has a like-minded i.e. vindictive descendant (her ultimate fate, then, emerges to be predictably ironic). That said, the narrative makes it seem at first as if the old Berti has taken possession of the new Steele…until hero Anthony Steffen (the sculptor entrusted with restoring the icon) uncovers the whole scheme which also sees Steele's current guardian (Claudio Gora), enamored of Berti, involved (hypnotizing his charge into committing nefarious deeds so as to elicit the ire of the townspeople who, in getting rid of the girl, would make him legal proprietor of the estate!). Steele, in fact, is made to turn heads yet again – particularly those of the more gullible members of the community: village idiot, shy schoolteacher, his equally naïve girlfriend(!) and who also happens to be Steele's own personal maid, and the town strong-man. She seduces all (often by casually taking off her clothes in their presence – though we see next to nothing, screen permissiveness having only just been broken with the likes of THE PAWNBROKER [1965] and BLOW-UP [1966]) and 'causes' them to act in extreme ways – the first becomes a serial rapist/killer (on whom the villagers eventually turn en masse), the second commits suicide (in the classroom of all places!) as a result of the maid breaking off her relationship with him and the fourth sets fire to his own home (with the rest of the family still inside!).

By now, of course, Steele was well-versed in this type of role – so, it's no surprise that she turns in a typically multi-layered performance (with her striking looks intact). However, she's matched by the brooding Steffen (later a regular of Spaghetti Westerns and Gialli) – and, equally impressive is Francesco De Masi's evocative score (it's pure happenstance that several titles I've been watching in my ongoing "Euro-Cult" marathon bear his signature!).

I must admit, I collect horrors from the beginning of filming, my oldest is from 1911 until now but the fifties and the sixties never were my thing. That period was filled with too much blah blah horrors were nothing happens or were filled with guys in a monster suite. Thanks to Chris in the UK I was given the opportunity to watch this flick. It is a rare film to find, strange because Barbara Steele plays in it. Wellknown for her part in Black Sunday made in 1960. The fact that it is an Italian film made it even harder to find it with subtitles, my copy has it. In fact, for me it's a ghost story. Beautifully filmed and exceptionally for an Italian flick with perfect sound, no overdubs or hiss. All actors are believable. Don't expect a gory or bloody movie. In those days most of the horrors weren't bloody. Except for the start in the states of the slashers with Blood Feast (1963). Steele plays a perfect role written for her and the plot is also really nice, it's only in the last minutes that you will know what's really going on. It's more suspense then horror, only a few seconds there is blood. There are also no effects used in this film and that's why it has his cult following, Steele is also a reason. In some way it get's you by the throat. If you can catch a copy watch it but first transfer yourself in those days. Oh yeah, it's shot in black and white which gives it an older look (40's). Start searching my friends.

Perhaps inspired by Mérimée's short story "La Venus D'Ille

and even more by French miniseries "Belphegor" ,"Un Angelo per Satana" is solid horror movie stuff;anyway with Barbara Steele,the most fascinating actress of the genre ,you cannot be wrong.Even when the screenplay is weak,she saves something from the wreckage.

Anyway the screenplay is well-constructed,with two final unexpected twists;the first pictures ,on the lugubrious lake, almost show a Dreyeresque influence .Steele is so subtle an actress you never know whether she is an angel or a demon who causes crimes,drownings,suicides and other horrors;this is a Gothic atmosphere with the De Rigueur events which happened a long time ago and became a curse for the inhabitants of the island .Recommanded for horror buffs.

1966's "An Angel for Satan" (Un Angelo per Satana) marked the final chapter in the Italian Gothic career of Barbara Steele, whose acting roles would decrease over the years, with occasional projects as producer for television director Dan Curtis. Playing to type as a bewitching beauty who casts spells over every male of the tiny lakeside village where a sculptor (Anthony Steffen) has been hired to restore a statue tainted by tragedy 200 years before, her features an exact likeness of its partially naked marble form. A shy schoolteacher, a bulky father of five, a mute gardener, and the captivated sculptor all become willing pawns in this game of bitterness and death, only to have a pair of plot twists wreck the finale after such a promising buildup. Barbara's Harriet is first introduced at the 16 minute mark, and so swiftly transforms into the wicked, luminous Belinda that we never really get to know her in either role, but she proves yet again to be an undeniably powerful presence on screen, actually removing her clothes in one scene, while later showing off her breasts through a sheer nightgown. Coming full circle since Mario Bava's "Black Sunday," effective performing either angelic innocence or seductive sorceress, this was as far as censorship would allow in the mid 60s, perhaps the right time for her to call it quits. This was one of the last films for director Camillo Mastrocinque, best remembered for the Christopher Lee vehicle "Crypt of the Vampire," reunited with pretty Ursula Davis, in a more benign role than before as Harriet's submissive maid. Decades passed before the dubbed version finally came to light, making this usually the last Steele vehicle that buffs got to see, now easily available in a pristine print that looks as though it was shot yeserday, even in black and white.

In the Nineteenth Century, in Italy, the sculptor and restorer Roberto Merigi (Anthony Steffen) is hired by Count Montebruno (Claudio Gora) to restore an ancient statue retrieved from the bottom of the lake that surrounds the village. The count explains that the statue was pushed to the lake two hundred years ago and there is a legend that it is cursed. When his nephew Countess Harriet Montebruno (Barbara Steele) returns to the village after studying fifteen years in London to receive her heritage that is administrated by Count Montebruno, Merigi notes her resemblance with the statue and soon they fall in love with each other. But soon Harriet has an erratic behavior, provoking murders of superstitious locals with an evil behavior. What is happening to Harriet?

"Un angelo per Satana", a.k.a. "An Angel for Satan", is another great gothic Italian horror movie with Barbara Steele in her last work of this genre. The cinematography in black-and white is amazing, the plot is well-developed and the plot point in the end certainly surprises the viewer. My vote is seven.

Title (Brazil: "Um Anjo para Satã" ("An Angel for Satan")

If anyone had lost the opening credits will be possible some viewers confound the Brazilian Anthony Steffen with Vittorio Gassman, both actors have a slight sameness, once more Barbara Steele starring this Italian gothic horror, which she became a Queen of this genre, the odd story set place on 19th century on a smallest village at lake shore, when a cursed statue of an old lady Belinda Montebruno was rescued from the lake and the Count Montebruno (Claudio Gora) hires a sculptor Robert Merigi (Anthony Stephen) to restore the statue from hie glorious days, the superstitious and loath dwellers disavowing such outrage, meanwhile arrives from England Harriet Montebruno (Barbara Steele) that has a strong similarity with her ancestor, outlandishly the beauty Harriet has change her personalities features for a while, also appears on the village some victims of unknown nature, gripping picture about conscious collective over a living legend and their developments, many twist came out, further the director didn't uses properly the sexual appealing of Barbara Steele which all us waiting for, just allows some prudish scenes, delivering a contrived finale, shot in black & white somehow lost the impact with a failure photography!!

Resume:

First watch: 2020 / How many: 1 / Source: DVD / Rating: 7

A beautiful b&w mystery movie, shot in 1966, but looks like having been made in the 40s - which is perfectly alright for me in this case. Sculptor Roberto (Anthony 'Django' Steffen) arrives in a small village to restore an ancient statue. He meets a woman (Barbara 'Mask of Satan' Steele) who bears an amazing resemblance to the statue. Mysterious cases of death happen, and soon she is supposed to be a reborn witch by the superstitious villagers. Roberto doesn't believe that and starts looking for another explanation... In case you were worried because Jan de Bont's 'The Haunting' used too many computer FX, you should check out this movie instead (that is, if you ever find a copy of this rare gem), because you'll realize how well this kind of story works without digital toys.

Enjoyable and above average terror movie revolving around the haunted statue plot , and a relentless vengeance with a perturbed ghost appearing and seeking revenge , causing a real nightmare with creepy murders and ghastly events . At the end of the 19th century, in a little Italian village by a lake an ancient sculpture is recovered . Soon after , a series of murders begin and the supertitious villagers believe that the statue displays a doomed curse . .So shocking! Do you dare see it! Warning ! See it with someone who's shockproof! Black Sign of Death Is On This House! Horror... sharp as a razor's edge!. Written in Blood! The Ghost makes you shiver and quiver ¡ . Eerie , Horrific , Bloodcurling ¡

A Gothic film with supernatural events , surprises , tension and suspenseful happenings . The horrible intrigue is unfolding little by little, suspense moves in crescendo and twists and turns break out at the end of the movie . Set at the ordinary sinister mansion where happens scabrous and horrifying events . In spite of a few escenarios and its low budget the picture is pretty well , thanks to the adequate filmmaking , stunning cinematography taking great use of lights and shades as well as camera positioning to complement appropriate horror set pieces . Surprisingly realized with startling visual content and decently scripted by director Camillo Mastrocinque himself , based on the novel novel "Malombra" by Antonio Fogazzaro , resulting in an attractive and intriguing horror movie with sensational atmosphere . Barbara Steele performs a dual character in his last major Italian horror movie . She gives a strong acting as a woman possessed by the spirit of a statue that carries an ancient malediction . Great and memorable Barbara Steele , here become a terror myth . As Barbara Steele is splendid , as always , she was the most beautiful star of the greatest horror masterpiece of Italian film, ¨Mario Bava's Black Sunday¨ or Mask of the demon (1960) , after following its American success, AIP brought Barbara to America, to star in ¨Roger Corman's The Pit and the Pendulum¨ (1961) , she won a role in ¨Federico Fellini's Fellini 8½¨ (1963); she only had a small character , but it was really stunning . Reportedly, Fellini wanted to use her more in the film, but she was hired to leave Rome to start work on her next horror movie, ¨The horrible secret of doctor Hitchcock¨ (1962). More horror movies continued , such as ¨Lo spettro¨ (1963), ¨Nightmare Castle¨ (1964), ¨Un angelo per Satana¨ (1966) and others ; these successes lead to her being typecast in the horror genre, where she more often than not appeared in Italian movies with a dubbed voice. Appearing in the British ¨The Curse of the Crimson Altar¨ (1968), which was mainly eye candy , with scantily-clad women in a cult. Unfortunately, Barbara got sick of being typecast in horror movies . In Un angelo per Satana (1966) Steele is well accompanied by a fine cast , standing out Anthony Steffen who may be a name best remembered by Spaghetti Western aficionados, but in his day, from the mid-'60s to the early '70s , Steffen was one of the most popular actors of the genre - at the time cheap B movies- , now revered cult classics . The handsome, Italian-born - actually at the Brazilian embassy in Rome - Antonio Luiz de Teffè von Hoonholtz began working in films as a studio messenger for Vittorio De Sica . From there, Steffen began acting in sword-and-sandal epics, later moving onto the Western genre , where he found his niche . Unlike fellow Spaghetti star Clint Eastwood, however, Steffen never became a top international box-office attraction . Being accompanied by a lot of familar faces from Italian cinema, such as : Claudio Gora who married in real life to Marina Berti playing the Housekeeper, Ursula Davis , Vassili Karis , Mario Brega , Aldo Berti , Halina Zalewska , among others.

Displaying a thrilling and suspenseful musical score by Francesco De Massi . It contains a dark and sinister cinematography in black and white by cameraman Giuseppe Aquari with filled with lights and shades. The motion picture was competently directed by. Camillo Mastrocinque who also made another notorious terror film : ¨Crypt of the vampire¨ with Christopher Lee . In addition , he directed a number of Toto vehicles as : ¨Toto Peppino e la malafemmina¨ , ¨Toto al inferno¨ , ¨Toto Peppino e i fuorilegge¨, ¨Toto lascia o radoppia?¨ . This horrifying picture of the Italian Gothic has a high rating 6.5/10 . Decent and better than average terror movie.

All due credit to the crew: the first and most lasting impression one has of the film is the splendor of the visuals. Giuseppe Aquari's black and white cinematography is rich and vivid, lovely in capturing every little detail. The filming locations are gorgeous, and the production design and art direction equally so. The hair and makeup work is immaculate, and the costume design is wonderfully fetching. Camillo Mastrocinque demonstrates a marvelously keen eye as director, Gisa Radicchi's editing is smooth and fluid, and even the lighting comes across as rather inspired. May I just say, too, that I love the very title, and the premise is enticing. I think the cast is swell, too, all demonstrating fine nuance and poise to bring their characters and the picture to life. Commendations to them all!

The actual storytelling is far more troubled as Mastrocinque and Giuseppe Mangione's screenplay comes off as scattered and unfocused. A complete story is told, but I don't think it's fully coherent or cohesive. There are more than a few moments in the dialogue and scene writing that inspire a perplexed "what?" and I wonder: is it intentional misdirection on the part of the characters on hand, especially the antagonist? Or is it just sloppy writing? As the length progresses, I'm absolutely inclined to think it's the latter, not least as the climax abruptly throws a couple more story ideas into the mix that don't strike me as comporting with what the feature had previously been building. Even as dirty deeds accumulate, plot development is weak and less than gripping, and not always communicated well. Sharp an eye as Mastrocinque illustrates as director, his guiding hand in terms of orchestrating the execution of scenes is more questionable, for as they present too many instances are frankly unconvincing. This is deeply unfortunate, since on paper the narrative is, for the most part, strong and compelling.

What it comes down to is that for all the finesse in the contributions of those behind the scenes, the same cannot be said of the writing, or of its realization in front of the camera. 'An angel for Satan' is not a psychological horror film per se, but it definitely plays with a fundamental duality in one character, and one performance, that up until the outrageously floundering last few minutes drives the entirety of the plot. Such tales absolutely require subtlety and a delicate touch to pull off, and without it, the picture falls flat; see 2005 slog 'Headspace' as a prime example. This movie, as we see it, is entirely too blunt and heavy-handed in its treatment of this pivotal figure, so where the experience should be deviously dark and entertaining, instead it feels forced, ham-handed, and dull. I recognize the skills of the ensemble, but the acting in and of itself suffers from this same untoward forthrightness. Those moments throughout the length that are perplexing, inviting skeptical reactions, including the climax that's all but a non sequitur? Here's our answer.

I was ready and willing to engage with this movie from the start, and I did so with an open mind. My favor fell away bit by bit as the digital timer advanced, taking another major hit at the climax that pushed the needle in the wrong direction. I really do love all the work put into this by the crew behind the scenes; would that their efforts, and those of the cast, weren't wasted on material that's ultimately so club-footed and meager. I expected that I'd enjoy 'An angel for Satan,' but by golly have I been disappointed. I hope other folks get more out of this than I did, but in my opinion it's such a mess that I can't especially imagine recommending it.

An Angel for Satan is the rarest, and therefore hardest to find of all the Gothic horror films that Barbara Steele made in the sixties; but hunting it down was certainly worth the time and effort as this film is right up there with Danse Macabre and Black Sunday as one of the best films that the horror icon made! Director Camillo Mastrocinque had worked in the Gothic horror genre previously with the somewhat less than brilliant effort Terror in the Crypt in 1964; but it would appear he'd done some homework on the genre since then as this film is much better. The story focuses on a little Italian village. A statue belonging to a rich family has been recovered from the local lake after a heat wave, and Roberto Merigi has been called in to restore it; which coincides with the return of Harriet Montebruno; the daughter of the statue's owner. There is a story of a curse surrounding the statue, and the locals believe that the village itself will become cursed if it is ever recovered from the lake. Strange things then start happening in the village.

The key thing for this genre, and indeed the best thing about this film, is atmosphere. Director Camillo Mastrocinque succeeds admirably in bathing the film in a thick and foreboding atmosphere; which is helped by a great score from Francesco De Masi. The plot is spread rather thinly and the film puts its main focus on the central characters, which works well. Barbara Steele is, of course, the star of the show and aside from looking better than ever, also provides the film with its main story lines. Starring alongside Steele is the great Anthony Steffen, who provides a strong male lead. The film is basically a mystery thriller with horror elements tied in; the horror of course coming mostly from the atmosphere and direction. The plot does flow well and the film is always interesting, though my only real criticism of the film comes from the fact that more isn't made of the curse. There's a gorgeous sequence explaining how it came about, but that's the only real mention and it's a bit of a shame. Otherwise, however, An Angel for Satan is an exceptional Gothic horror film and comes highly recommended to anyone that enjoys films like this!

This film essentially begins with a legend about a statue of a beautiful woman created 200 years earlier which resulted in such a disturbance that it was thrown into a lake with a curse upon the people of a nearby town should it ever recovered. The story then continues with a young woman named "Countess Harriet Montebruno" (Barbara Steele) returning from an 18-year absence to claim the large estate bequeathed to her and administered in her absence by her uncle "Count Montebruno" (Claudio Gora). By sheer coincidence, due to a severe drought, the statue had just recently been located, and an artist by the name of "Roberto Merigi" (Anthony Steffen) is subsequently commissioned to refurbish it--which, in turn, has created a stir among the superstitious townspeople. Sure enough, on the day of Roberto's arrival in town, two people die in a strange boating accident--and not long afterward the townspeople begin to act in a very strange manner. Now, rather than reveal any more, I will just say that this was an interesting film due in large part to the rather bizarre behavior of Harriet who quickly became the center of attention from everyone around her. Admittedly, the film is somewhat dated, and it could have used a bit more suspense here and there, but even so, I enjoyed it for the most part, and I have rated it accordingly. Slightly above average.

In AN ANGEL FOR SATAN, Sculptor Roberto Merigi (Anthony Steffen) arrives at a small village to restore a mysterious statue of a woman, rescued from the bottom of a lake.

Enter Harriet Montebruno (Barbara Steele), who just happens to bear a striking resemblance to the statue in question. Working together on the restoration, the seemingly supernatural spookiness begins almost immediately. When Harriet starts acting... differently, the real story unfolds.

Filmed in glorious black and white, the restored version of this movie is magnificent! Ms. Steele is at her wicked best here, playing her dualistic character with innocence and sadistic glee by turns. Her bewitching eyes add extra darkness to this, her most lascivious role.

A classic of the genre with a shocking double-twist ending!...

I recently watched the Italian film 🇮🇹 An Angel for Satan (1966) on Tubi. The story centers around an estate that recovers a 200-year-old statue from the bottom of a lake, intending to restore it. Around the same time, the estate owner's niece arrives at the castle-only to fall under the influence of a mysterious spirit seemingly tied to the statue, leading her down a dark and murderous path. Can anyone stop her and break the possession?

Directed by Camillo Mastrocinque (Crypt of the Vampire), the film stars Barbara Steele (Black Sunday), Anthony Steffen (Django the Bast@rd), Claudio Gora (Lion of the Desert), and Marina Berti (Shamed).

Visually, the film excels. The castle, period sets, costumes, and overall atmosphere draw you into its eerie world. The homes featured are stunning, and the gothic mood is well maintained. The acting is solid across the board, with Barbara Steele once again stealing the show-her screen presence, expressive mannerisms, and chilling delivery carry the film. While the entire female cast is striking, Steele is especially magnetic.

That said, this is barely a horror film-more of a gothic mystery with supernatural undertones, centered on a haunted statue. There's an unexpectedly entertaining and over-the-top fight involving schoolteachers that adds some levity, and the ending does a decent job of tying things together.

In conclusion, An Angel for Satan is a middle-of-the-road gothic thriller that's worth watching for Barbara Steele-and not much else. I'd give it a 5.5/10.

Beautiful Italian gothic film for a Black and White which seems stuck in the 1950s, despite being from 1966 which is several years behind Mario Bava's wild atmospheric color extravaganza Blood and Black Lace. In my opinion it also lacks the raw power of another Italian B/W horror classic Il Demonio.

Barbara Steele, no favorite of mine, plays a countess ostensibly SOMETIMES possessed by the evil spirit of woman trapped in a statue from the 1700s. Sometimes Babs is the demure and sane Harriet, but like a werewolf she turns into a narcissistic sociopath at midnight and spends her early mornings casually destroying people's lives with flirtatious and manipulative behavior and lies. Pretty convincing as a female embodiment of Satan due to her beauty and sly, calculating path of destruction that doesn't immediately implicate her as the source of the chaos.

However, her switch in personality made little sense to me and I really craved more back story about the statue. Feels dated in a dull way to me but is pretty strong in terms of setting and complexity of story telling.

"Un Angelo per Satana" aka. "An Angel For Satan of 1966 is the last of nine Italian Gothic Horror films starring the wonderful Barbara Steele, doubtlessly the greatest female Horror icon in cinema. Barbara Steele, who is capable of combining stunning beauty and unspeakable eeriness like none other (which makes her my favorite actress), starred in none less than three of the all-time greatest Horror masterpieces within a few years, namely Mario Bava's "La Maschera Del Demonio" (aka. "Black Sunday") in 1960, Roger Corman's "Pit And The Pendulum" (aside the great Vincent Price) in 1961 and Antonio Margheriti's "Danza Macabra" (aka. "Castle of Blood") in 1964. While "Un Angelo Per Satana" is not a masterpiece en par with the aforementioned films, or even other brilliant Gothic tales like "Nightmare Castle" ("Gli Amanti De Oltretomba", 1965), this is yet another eerie and great gem starring Steele. As in "La Maschera del Demonio" and "Nightmare Castle", Steele once again has a double-role in this one, and she is once again brilliant switching between pure innocence and pure evil.

The film is set in a 19th century Italian village set next to a lake, from which an old sculpture has been recovered. Invited by the local Count Montebruno (Claudio Gora), sculptor Roberto Merigi (Anthony Steffen) has come in order to restore the artwork, and immediately finds out that the villagers are afraid of a curse which is supposed to be placed upon the sculpture. The Count's beautiful niece Harriet (Barbara Steele) bears an amazing resemblance to the sculpture... "Un Angelo Per Satana" did not have a very high budget, and actually looks a few years older than being made in 1966. This is in no way a fault, however, as the film, which is filmed in beautifully uncanny settings, nonetheless maintains a tense and creepy atmosphere. This is one of only two Horror films director Camilllo Mastrocinque ever made, the other being "La Cripta e L'Incubo" (aka. "Crypt of the Vampire", 1964) starring Horror icon Christopher Lee. Even so, Mastrocinque was obviously perfectly capable of creating genuine creepiness and a Gothic atmosphere. As stated above, Barbara Steele is once again brilliant in her double role here. I am always getting quite monotonous when this favorite actress of mine is the topic, but she simply cannot be praised enough, in my opinion. Anthony Steffen, who is best known for starring in many Spaghetti Westerns as well as Emilio Miraglia's "The Night When Evelyn Came out of her Grave" ("La Notte Che Evelyn Uscì Dalla Tomba", 1971) fits well in the role of the hero, and the cast furthermore includes Mario Brega. Brega, who was part of some of the greatest Italian Westerns, including Leone's Dollar-Trilogy and Sergio Corbucci's "Il Grande Silenzio" (1968), once again plays a grumpy ruffian here. The settings are beautiful and eerie, especially the lake, and the photography is very nicely done. The most convincing reason to see "Un Angelo Per Satana" is, of course, Barbara Steele (more than reason enough for me!), but the film is also great in other aspects. A definite must-see for my fellow fans of Italian Gothic Horror and Barbara Steele, "Un Angelo Per Satana" is a creepy and great gem that comes with my highest recommendations.

Fabulous b/w Italian Gothic that is beautifully shot and has a marvellously evocative soundtrack. Perhaps slightly too leisurely paced at the start with too many interiors but this is nit picking and very mean for a film that at times reminded me of Bava's The Whip And The Body. Yes, that sort of intensity and sexual tension. Oh and I haven't even mentioned what would have made the film so watchable even without all that. Barbara Steele! This has to be one of her most notable roles (dual roles, again, actually) and she shines both as the innocent and the depraved equally. Her pretty personal maid and the handsome co-star both work hard but become almost invisible when this woman is on screen. It's a well told tale set on an Italian lake with much ado about a statue salvaged from the waters and an associated curse. Great stuff. Magnificent ending.

Very glad to see this after so many years just reading about it. Was still operating under the impression that it was only available without subtitles, but seeing that Netflix was offering it, I added it to my queue and was very happy to find that it arrived with English subtitles.

It's beautiful, evocative, violent, and puzzling with Steele cutting quite the figure of death and destruction as Harriet fresh out of England to claim her inheritance somewhere on the Continent. For a film that I thought was going to be wearisome and talky considering its first 15 minutes or so of weary talk, it definitely found its stride and delivered on its promise once Steele's machinations--or Belinda's or...?--unfolded.

A great end of the week, Friday night flick and now one of my top three favorite Steele films.