UKHS Does the Nasty! KILLER NUN (1978)

KN1UKHS Does the Nasty!
KILLER NUN (1978)

It’s day four of our Video Nasty week and, clad in nothing but a holy water soaked wet t-shirt, UKHS’ resident audio nut Mark Pidgeon gets all sacrilegious with KILLER NUN…

Also known as: Suor Omicidi

As well as changing the face of the whole home video industry, the Video Nasty saga’s burst of moral panic and outrage also helped a few lesser known horror titles escape from the realms of obscurity; pushing them out into the stratosphere of cult movie fandom for decades to come.

The majority of titles were notably banned for violence and assorted misogynistic acts, such as graphic depictions of rape, torture and general sexual deviancy. Giulio Berruti’s Killer Nun meanwhile adds another to its cap, one which is still a very controversial topic to this day: blasphemy.

Much like its Nazisploitation counterpart, Nunsploitation was central to the rise of nasty fame, both sub-genres flourishing in a richly populated market that supposedly would exploit and corrupt the working class folk of eighties Great Britain. In typical class segregation and political elitism, some of the early Nunsploitation films condemned for home viewing within a Nasty-type bracket actually received acclaim from the upper-class, art-house scene – Ken Russell’s The Devils (1971) and Walerian Borowczyk’s Behind Convent Walls (1978) most notably.

KN2Many Nunsploitation films would be set in a medieval/cathedral setting, usually including a sadistic mother superior with a penchant for flaying nubile Catholic nuns as she attempts to purify the flesh – a novel way for the seventies softcore audience to witness a little more masochism than they were used to. It was a similar set up to the women in prison mantra: young women exploited and helpless, all the while giving in to sin, with varying degrees of pleasure after initial reluctance.

Killer Nun thrust aging Swedish sex siren and La Dolce Vita starlet Anita Ekberg – the main reason film fans flocked to screenings to see more of the beautiful actress in more ways than one- into a world of degradation and desperation. The sexual antics are a tool for her to achieve what she wants and is in full swing throughout. Couple this with her need for drugs, a slope of insanity makes Killer Nun a beautifully filmed Nunsploitaion picture; yet the film hasn’t aged well and suffers like much of ilk to a now modern-day tameness.

Based upon a true story about a Nun working in a geriatric hospital, Sister Gertrude suffered with an addiction to morphine (due to cancer) and relentlessly killed patients, robbing them in the process to fund her morphine addiction. Taking out her own frustrations on her patients she becomes the antithesis of the veil and her religious duties, seen by Baba Yaga director Berruti whom then crafted and exploited the story as the basis for this film after seeing potential in the brutality of the crime.

KN3An excellent,delirious score supplements the carnage and is a highlight of the film offering an almost dreamlike status to the murder sequences which fits in well with the morphine thematic. During a scene where a patient is thrown from a window the repetitive pulsing sound-scape makes the sequence far more effective than it deserved adding surrealism and panic with a minimal yet aggressive sound structure; Kubrick would be proud.

Ekberg herself is noted in an interview from 2006 as taking the role as “the psyche of the nun appealed to her and was a deviation from the Dolce Vita clones that [she] was only getting offered at the time”. Her descent into addiction, madness and lust is well played throughout. She is convincing in the seductress part of the role as well as the addictive junkie personality, merging the two persona’s well and garnering both viewer sympathy and repulsion in the process. At heart this is a tale of a woman screaming out for help in a world which has unfair preconceptions about her and the life she chose to lead, both religiously and as a drug abuser/sexual deviant. It’s weirdly deep for a film of this ilk.

The supporting cast will be familiar to many a die hard Italian horror fanatic; roles from Suspiria’s (1977) Alida Valli and Nunsploitation mainstay Paola Morra help proceedings along nicely. Killer Nun is by no means a great film but it offers enough charm, flair and scope to merit a viewing. The lesbian love interest, Sister Mathieu, plays well against Gertrude as she rebukes her advances while being meticulous and cruel and she is deftly handled by Morra.

KN4Upon release Killer Nun was banned in Italy and later in 1983 was banned in the United Kingdom and, to this day, the film remains banned in Iceland. The original poster art also came under scrutiny as the suggestion depiction of a nun performing a sex act was deemed unsuitable and was amended into a subtler affair with a silhouette of Morra looking into Ekbergs seductive gaze.

The religious iconography is also another moot point, this could have essentially been the same film with Gertrude being in any position of uniform and not a nun; would it have still attracted the intended audience? For the most part yes, but Killer Nun rides the coattails of Catholicism focusing on the purity of religion using it as a tool for dissection and deviation sure to ruffle a few feathers and excite a few others in the process.

Its also undoubtedly on this list because of the connotation of the title alone; if it would have been given a release under its original language title, Suor Omicidim would the DPP have clocked it? The widespread panic and attacks by name association alone helped fuel the Video Nasty fire. Nunsploitation fans are grateful to her for rescuing this title from video.

Nunsploitation expert Nigel Wingrove submitted the film to the BBFC again in 1993 as part of his aptly titled side label Salvation, an offshoot of Redemption films. Redemption were oft victims of the heavy handed clout of Mary Whitehouse and her fear mongering lynch mob; Wingrove was granted a VHS release with 13 seconds of footage omitted.

KN6Removing two notable scenes of violence; the first a Needle in an eye sequence , the latter a depiction of Surgery on a skull which looks terribly dated upon viewing now. It is interesting to note than there are actually very few cuts compared to some of the more notorious titles on this list and that both cuts, although excessive were used to enhance the story not done for extra shocks.

The film is now available uncut in the UK from Shameless Screen Entertainment which resubmitted the film in 2006. Shameless have re-instated the cut footage from an Italian print – one which has never been dubbed into English – and this is an excellent way for people to witness the cut footage for the first time, although it does become a little distracting to have a tiny section of the film in Italian instead of using the whole Italian source. Presumably a full Italian print was unavailable or the print not of sufficient standard. Germany and USA also have fully uncut versions from Koch Media and Blue Underground respectively.

Killer Nun: perfect Saturday night viewing, before church on Sunday!

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Follow Mark on twitter @Gpressonline

#UKHSNasty

The Other Hell (A.K.A. Guardian of Hell) (1981) Review

toh1THE OTHER HELL (1981)

(A.K.A. Guardian of Hell)

Dir. Bruno Mattei

Forgive me Father, for I have sinned. I watched my first Italian nunsploitation film. It was called THE OTHER HELL. But I am not asking for forgiveness–I think I liked it.

THE OTHER HELL opens with a nun searching for one of her sisters in the lower levels of a convent. After making her way through the well-stocked ossuary, she arrives in what first appears to be a mad scientist’s lab but is soon revealed to be the most poorly-lit embalmers’ chamber ever.

In short order, we’re treated to a treatise on how to embalm a sinful nun, the first step of which is to identify where the sin came from, which invariably is her vagina, as the embalmer, let’s call her Sister Chatty Loquacious, dramatically indicates with a knife thrust to the corpse’s fanny.She also enlightens us by explaining the dead nun had laid down with the Devil and became large with his child, a monster with black body hair and Satanic eyes which was aborted on the Sabbath, cut from the womb.

“But the threat lives on, here in the convent. The demon lives. He feeds on good, suckling at the breasts of nuns like this one here!” says Sister Loquacious, who then reveals that the embalmed corpse of the convent’s former Mother Superior is stored in a closet, and thus condemning her soul to stay a quiet prisoner of the convent for all eternity.

Sister Loquacious then sees a pair of glowing red eyes glaring at her, and proceeds to stab the other nun numerous times, including one in the minge for consistency’s sake.
All of this is before the opening credits.

A priest is brought in to investigate the series of murders at the convent, and determine whether the killings are the work of the Devil or a psychotic mind. But his superiors refuse to believe his theory that supernatural evil is at work in the convent, and call in a second, much more hip, priest to take over the investigation–the sort of intellectual who says things like, “The intricate labyrinth of the human psyche needs an explorer who can put his mind to work on the psychology of mysticism, investigate the religious mind, it’s motivations which often stem from early experiences. What we used to call Satan is no more than the negative thought that accompanies the positive.”

toh2And as the body count rises, this hip priest shakes things up and turns the convent upside down to get to the bottom of the sacrilegious scenario.Maybe not quite a gem in the rough, THE OTHER HELL is not without value, it is atmospheric and chock full of the artsy bits for which Italian horror filmmakers are known. A spontaneously combusting Bible, a curious sound which might be a bat, a parrot or a monkey emanating from nowhere. slow motion footage of a white owl in flight and a faceless woman with a cat who sleeps on a bed above which dolls are suspended on chains and swaying in some ethereal wind.

The film also makes good use of iconography and visuals unique to the setting. A procession of nuns carrying tall candles walk down dark hallways, following the padre as he performs a rite of consecration. The obfuscating effect of a confessional panel is wrung for suspense. Religious art, tapestries, crucifixes and stained glass windows appear in nearly every shot.

And being a horror film, THE OTHER HELL does not disappoint with the old ultraviolence, be it death by stigmata, multiple stabbings, a very convincing priest immolation, or a severed head in an altar. Unfortunately, the film also includes the decapitation of a live chicken and a attack on a cat by a pack of dogs, which while simulated (I hope) ends with an actual, skinned feline corpse–which promptly transforms into a handful of maggots.
And last but not least, THE OTHER HELL does feature a groovy, prog rock soundtrack by Italian maestros, Goblin–although the funky music does seem a bit incongruous when played over scenes of nuns chanting.

While all of this may sound compelling, THE OTHER HELL is plagued by poor acting, the kind you can’t blame on the dubbing. It is especially painful in a scene where one nun slowly dies from her fatal stigmata, crossed eyes and all, and another where  a nun strangles someone with a rosary as convincingly as if she were struggling with removing ill-fitting stockings. And then there’s a scene where a baby’s baleful gaze compels a nun to strangle herself.

toh3There’s also a preposterous bit of super science where the hip priest, after pointing a special camera at an old drawing, literally can look into the past via a video screen.

That said, THE OTHER HELL brings together enough interesting visuals and quirky elements to make for an enjoyable, if unpredictable, film with a satisfying conclusion. Maybe not sacred, but certainly profane.

A neophyte of nunsploitation, I found THE OTHER HELL to be a tasty first sip of sacramental wine. Who knows? Nun movies might become my next bad habit.

6/10