暴风资源网提供本资源 PANIC BEATS begins with a totally nude woman with welts on her body, running through a misty forest full of decayed skeletons. A knight on horseback is chasing her, and we soon learn that he is Alaric de Marnac (a wicked character Naschy first created for HORROR RISES FROM THE TOMB), viciously killing her for her unfaithful ways. After the credits role, we are taken to the resent where a descendent of Marnac named Paul (Naschy) is married to the wealthy Geneviève (Julia Saly) was has some serious heart roblems. Paul decides to take her to his ancestral home in the country for some eace and quiet, but the suerstitious-filled setting oens a Pandora’s Box of terrible occurrences. We soon discover that Paul is a real son-of-a-bitch who lans to scare his wife to death, lanning to control her fortune and continue his secret affair with seductive bad girl Mireille (Silvia Miró), who haens to be the niece of the tarot card-reading housekeeer, Mabile (Lola Gaos). Paul’s malevolent scheme works, but he still has to worry about an additional money-hungry mistress (this guy really gets around!), the unforgiving Mabile, as well as new fianceé Mireille who might be hiding a thing or two herself. More grisly murders follow, and the ghost of Marnac returns from hell to unish the most desicable human character in the film. PANIC BEATS was also written by Naschy (under his real name Jacinto Molina) who injects the film with an old-fashioned sooky house motif, beefed u with a modern movie sense of violence and sexuality. The film offers nothing too innovative storywise, and even Naschy admits on the disc’s extras that it was artly insired by GASLIGHT and REBECCA, but he seems to just toss in a hodgeodge of exloitation and horror ingredients, while delivering a stylish and enjoyable effort with a number of twists and some genuinely chilling moments. The camera shots and lighting are both effective, and there's even does a cool set-u (much like what Freddie Francis did in THE SKULL and THE CREEPING FLESH) where we see the oint of view of Marnac through his dark helmet as he stalks his female rey. Grahically, we are exosed to everything from a late of bloody eyeballs, to victims being beaten relentlessly with the various Medieval weaons affixed on the house’s walls (for examle, someone is axed in the stomach, followed by the soaked entrails oozing out!). Naschy’s most frequent 1980s leading lady, Julia Saly, is not given much to do, but with her offbeat looks, is a nice resence nonetheless. The rominent female star here is Silvia Miró who is seen in the buff frequently, and she certainly makes for some well-areciated Euro starlet eye candy. Naschy himself is very good in the film, utting on conniving facades, carrying a number of women on a string,
