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Haunting of Morella

HMThe Haunting of Morella. 1990. Concorde – New Horizons. Reviewed by Brian Kirst

1990’s The Haunting of Morella stands proud as both a silly Gothic horror gem and as a time capsule to a bygone era. Created during the VHS market invasion and the reign of the B-Movie Goddess, The Haunting of Morella is a true product of its time with plentiful nudity and a modest budget stretched to magnificent limits. Morella was created during that era when being a video starlet was considered by some to be the height of celebrity – with actresses like Brinke Stevens catered to with limousine services and first class flights across the country to judge films festivals. This deliciously seductive aura permeates this Jim Wynorski spectacle.

Of course, having Roger Corman as producer doesn’t hurt. Corman, harkening back to his days with Vincent Price and his own Poe adaptations such as Masque of the Red Death, allows Morella a richness of texture and polish that other direct to video films of late 80’s and early 90’s lack.

HMWhile containing a significant amount of possession ritual, crucifixion scenarios, slaughter and bloodshed, this Morella is more about the casting than anything else. And this particular cast works Wynorski’s frequent combination of faded superstars, accomplished character actors, wooden GQ studs and beautiful women to delirious heights.

Former Man of Uncle star David McCallum plays a rich nobleman Gideon who marries the blood hungry witch Lenora. Blinded by love – to extreme degrees – McCallum locks himself and his daughter away after Lenora is condemned to death by an angry mob. Of course, on the eve of the daughter Morella’s eighteenth birthday – Lenora begins to possess her, trying to revive herself bodily again. Aided by the evil governess Coel, Lenora almost succeeds.

McCallum delivers a faithfully committed – yet slightly over-the-top performance. This is perhaps expected considering the material and he is calmed some by the steadiness of working horse actor Jonathon Farwell, his sympathetic film compadre and frequent scene partner. As Lorena/Morella, future Baywatch star Nicole Eggert gives a semi-successful performance. She is truly able to give a distinct difference to both roles, a true accomplishment considering the probable lack of time to make this film, but her Morella is too often contemporarily annoying and not as distinguished and old fashioned as is necessary. Still, she is a lot of fun to watch and her body double truly gets a generously naked workout.

Speaking of flesh – Maria Ford as the doomed Diane has never looked lovelier and frequent B-movie companion Gail Harris (Hard to Die) brings some nice lower class spite to her lusty servant-lass. Debbie Dutch (famed from many films including recent entries Kill the Scream Queen and Vampira The Movie) also appears, beautifully, in a hauntingly bloody flashback. But it is the late Lana Clarkson (Barbarian Queen) as the devilish Coel who truly shines here. Evil intent flashes in her eyes and tightlipped smile. She brings a twisted grace to the screen and watching her now makes the tragedy of her speculated murder by record producer Phil Spector in 2003 all the more apparent.

HMAs the director, Wynorski truly keeps things clipping along ( Morella’s "haunted" dream of sexuality and death is a definite outrageous highlight) and the 82 minute running time passes by quickly enough – particularly for those who fondly remember the days when Linnea Quigley, Monique Gabrielle, Debra Lamb, Michelle Bauer and their like were truly beloved household names.

Mitchell Wells

Founder and Editor in Chief of Horror Society. Self proclaimed Horror Movie Freak, Tech Geek, love indie films and all around nice kinda guy!!

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