milio P. Miraglia followed up The Night Evelyn Came Out of Her Grave with this giallo freakout — starring the magnificent Barbara Bouchet (Don't Torture a Duckling) — that combines Gothic horror with the high fashion we've come to expect from early 70's Italian horror.A curse haunts the Wildenbrück family once every 100 years — two sisters have always become the Red and Black Queen, feuding until one of them dies. Then, the survivor is haunted by sixth deaths, with the final death — the seventh death, referenced in the title, being the surviving sister. Kitty (Bouchet) and Evelyn are the next two sisters to be so cursed, battling even in childhood, stabbing each other's dolls with daggers.These catfights have continued for years, ending when Kitty, now a fashion designer, accidentally takes it too far when she battles Evelyn. Third sister Franziska (Marina Malfatti, The Night Evelyn Came Out of Her Grave, All the Colors of the Dark) and her husband hide Evelyn's body while Kitty pretends that her sister has gone to America.All is well and good until the Red Queen rises, wearing a red cape and white mask, killing all of Kitty's co-workers at Springes Fashions with the same dagger that was once used to slice up baby dolls. But is it really Evelyn, back from the dead (Emilio P. Miraglia sure liked Evelyn's that rose from the dead)? Or something much more down to earth?Miraglia only directed six films, with this being his last one. There are some moments in here that aspire toward art, like the Red Queen chasing Kitty through her dreams, ending in a long hallway run and her superimposed form attacking like a ghost. And the film flirts between the Gothic castle era of Italian horror and the fashionista giallo look — all while containing plenty of deep red gore and plenty of skin, courtesy of a 20-year-old Sybil Danning (Howling II, Battle Beyond the Stars, Young Lady Chatterley 2). It's not always art, but sometimes, it totally is. There are the requisite twists and turns of the genre, along with some really regrettable moments — like when a character goes from rapist to rescuer across two scenes and an ending where the hero and heroine both need saving.There's an amazing set of this that No Shame released with an actual Red Queen statue. And Arrow has, of course, put this out on Blu-Ray with Evelyn. It's worth checking out — unless trying to add up the plot messes that a giallo brings makes you check out.Read more at http://bit.ly/2z07sVI

Emilio Miraglia only directed a handful of films throughout his career (though he was more prolific as an assistant to the likes of Luciano Salce, Carlo Lizzani and Lucio Fulci), the two films he made between 1971 and 1972 - The Night Evelyn Came Out of the Grave and The Red Queen Kills 7 Times - stand out most of all. Although the two films are pretty recognisable titles to any giallo enthusiast, Miraglia's name hardly echoes throughout the annals of the genre, most likely down to his slim body work as it certainly isn't down a lack of quality.The premise of The Red Queen is giallo at its most gleefully ludicrous. While the film is mostly a gory thriller, there are elements of Gothic with its cobwebbed, desolate mansion setting during the opening scenes. A dying grandfather tells two of his granddaughters of the tale behind the gruesome painting overlooking his death-bed, of one sister ('The Red Queen') who stabbed and murdered the other sister ('The Black Queen'). This cycle repeats itself every 100 years, due again in 1972. When the dreaded year comes, the grown up Kitty (Barbara Bouchet) works as a fashion photographer and believes that her sister Evelyn died in a freak accident years ago. When people start dying, murdered by a manic woman in red, has Evelyn returned from beyond the grave as the Red Queen or is something even more sinister at play?When the movie finished, I was left wondering how such a convoluted build-up could lead to such an easily-explained mystery, but that's the beauty of giallo and The Red Queen itself. The infusion of Gothic undertones peppered throughout the film only add to the fun of the piece, although its feet lie firmly in its pulpy paperback roots. Complete with impressively staged, gory set-pieces, this adds pretty much every element of the genre into the mix - the world of high fashion photography, beautiful, big-eyed women, a gruff detective, and plenty of sexual deviancy. So, it offers little in the way of originality, but it's certainly a lot of fun (the scene with the fence spike is a cracker). See it for the bonkers plot and ghostly, Hammer-esque sets if nothing else.

There are some films that every Horror fan owes himself (or herself) to see, and Emilio Miraglia's "La Dama Rossa Uccide Sette Volte" aka. "The Red Queen Kills Seven Times" (1972) is definitely one of them. With Gialli and Gothic Tales being my two favorite sub-genres in Horror, I was looking forward to seeing this film for quite a while, and even though my expectations were high, this masterpiece surpassed my greatest hopes. Miraglia's earlier Giallo, "The Night Evelyn Came Out of the Grave" (1971) was already a creepy and highly atmospheric film which successfully mixed Giallo with Gothic Horror, but it couldn't possibly compare to this instant personal favorite. "The Red Queen Kills Seven Times" is, hands down, one of the most unique and overwhelming Italian Horror films ever made, and no lover of the genre could possibly consider missing it. An incredibly mesmerizing Giallo with strong Gothic elements, "The Red Queen" delivers everything one could hope for in either sub-genre: An inventive and incredibly compelling plot, spine-chilling suspense, a sublimely uncanny setting and a genuinely creepy atmosphere, eerily lush colors, stylish murders, a brilliant score, and, not least, a ravishing female cast lead by the stunningly beautiful Barbara Bouchet - this film simply is one of the most outstanding combinations of elegant beauty and pure terror.The film starts out incredibly in a beautiful Gothic castle in Germany. As little girls, Kitty Wildenbrück and her sister Evelyn have been fighting when their grandfather tells them the story behind an incredibly uncanny painting: Legend has it that a fiendish Red Lady is to return to the castle every hundred years and kill seven people. Fourteen years later, Kitty (Barbara Bouchet) has become a successful fashion photographer. Suddenly, people begin to get murdered... Director Miraglia had already proved his incredible talent for style, atmosphere and colorful creepiness with "The Night Evelyn Came Out of the Grave" and he makes use of these elements even far more effectively in this gem. "The Red Queen Kills Seven Times" is a feast for the eyes indeed, and one of the most overwhelming Italian Horror films both visually and plot-wise. The haunting painting in the Grandfather's castle alone is capable of giving the viewer the goosebumps. The Red Lady (or Red Queen, as she is called in the English title) is arguably the most fiendish figure ever in a Giallo, the spine-chilling laughter that the murders are accompanied by would even be frightening on its own. A sexy female cast is always appreciated, especially in a Giallo, and this one is a prime example for that. The ravishing Barbara Bouchet (one of my favorite actresses) must be one of the most stunningly beautiful ladies ever to appear on screen, and she is a great actress too. Bouchet's presence has graded up many Italian flicks, among other appearances she starred in three of the greatest Cult-masterpieces of Italian 70s cinema within one year (1972): Fernando Di Leo's "Milano Calibro 9", Lucio Fulci's Giallo-highlight "Don't Torture a Duckling" and this unforgettable gem. Apart from the wonderful Miss Bouchet, the film's gorgeous female cast includes sexy young Sybil Danning, Marina Malfatti ("The Night Evelyn Came Out of the Grave"), and other beauties who are not afraid to bare it for the camera. As the whole film, the murders are stylish and extremely elegant, yet frightening and macabre, and some of them are quite gory. Bruno Nicolai's mesmerizing score is as memorable as it gets, and makes the film's intensely eerie atmosphere even more haunting. The plot is ingeniously convoluted and full of red herrings, the tension-level increses with each passing minute. "The Red Queen..." begins creepy and it stays stunning to the last second. Overall, this is one of the films that I cannot find enough words of praise for. "The Red Queen Kills Seven Times" is an absolute masterpiece that easily ranks among the finest Gialli ever made, and a top-priority for every fan of Horror and/or Italian cinema to see. 10/10

Emilio Miraglio's "The Red Queen Kills Seven Times" (1972) is just about the most perfect example of a giallo that I have ever seen, mixing all the requisite elements into one sinister stew indeed. First of all, and of paramount importance for me, it has a complex, twisty plot that ultimately makes perfect sense, and the killer here does not come completely out of left field at the end. The story, concerning a series of gruesome murders (you already know how many from the film's title, right?) that takes place in seeming fulfillment of an ancient prophecy concerning two sisters, is an involving one, and the murderer, a red-cloaked figure with the insane laugh of a madwoman, is both frightening and memorable. Every great giallo requires some lovely lead actresses, and here we have quite an assortment, headed by the ridiculously beautiful Barbara Bouchet as one of the two sisters and, in one of her earlier roles, Sybil Danning, as a lustful tramp at Barbara's fashion house. Another necessary ingredient of a superior giallo is a catchy, hummable score, and Bruno Nicolai provides one for this film that should stay with you for days. Gorgeous scenery? Check again. Filmed largely in Wurzburg, Germany, the picture is a treat for the eye indeed. OK, OK, but what about those murders? After all, isn't that what gialli are all about? Well, I'm pleased to report that most viewers should be well satisfied with the various knifings, shootings, impalements and other carnage that this film tastefully dishes out...not to mention the crypts, freaky dream sequence, rats and bats (and LOTS of 'em, too!), the drug references, a rape scene, the obligatory red herrings and, in the person of Ugo Pagliai, a hunky leading man for the female viewers. As I said, a perfect giallo. And even better, this DVD is from the fine folks at No Shame, and you know what that means: a gorgeous print and loads of extras, to boot! Thanks, guys!