Medioevo magico: diavoli e maghi, roghi e streghe

Inquisición

1976, regia di Jacinto Molina (Paul Naschy)

Scheda: Nazione: Spagna - Produzione: Ancla Century Films, Anubis Films - Distribuzione: Manga Films S.L., Sinister Cinema, Video City - Soggetto: Jacinto Molina - Sceneggiatura: Jacinto Molina - Fotografia: Miguel Fernández Mila - Montaggio: Soledad López - Scenografia: Gumersindo Andrés,  Augusto Fenollar - Musiche: Máximo Barratas - Effetti speciali: Francisco García San José, Pablo Pérez - Formato: Color - Durata: 89'.

Cast: Jacinto Molina (Paul Naschy), Daniela Giordano, Mónica Randall, Ricardo Merino, Tony Isbert, Julia Saly, Antonio Iranzo, Juan Luis Galiardo, Eduardo Calvo, Tota Alba, E. Maria Salerno,  Eva León, Loli Tovar, Jenny O'Neil, Isabel Luque, Belén Cristino, Antonio Casas.

Plot Summary, Synopsis, Review: IMDb - entertainment.msn.com - naschy.com: «...Paul Naschy's take on witch-hunting, and the period of the Inquisition that gave witch-hunters their greatest resources and rationale, is different, however. With his sympathies for villains made evident by the films he has scripted and starred in, Naschy makes his witch-hunting inquisitor, Bernard de Fossey, a more complex figure. Indeed, Naschy's inquisitor emerges a sympathetic soul toward the end of the film, a victim of love and the machinations of a woman, a person of stubborn dedication unimpressed by feminine charms except for the one special woman who vanquishes his will and subverts his duty. Inquisition marked the first time that Paul Naschy directed a film, more out of necessity than anything else. Of course, he scripted and starred in the film as well. As usual, Naschy spent time researching his subject matter. The story is based on a factual occurrence in medieval France, in the region of Carcassone, where a magistrate fell in love with a suspected witch; the lovers wound up being burned at the stake. Naschy's research doesn't end here. As the film evolves we get an educational primer on the witchery and witch-hunters and Satanism through the characters' dialogue. Exposition is buttressed by dimensional authenticity...».

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