Mania

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Professor Brecht, a renowned scientist, is obsessively experimenting in his isolated villa. The object of his studies is "apparent death", with the intention that the human body in a cataleptic state can be cured more easily. He lives with his wife Lisa and several other people: his twin brother Germano; Katia, the waitress; Lailo, his assistant and young student Erina. Having discovered his brother's affair with Lisa, Brecht sets up a plan to kill Germano and take his place. The shock makes Erina dumb. Bercht's persecution of Lisa soon turns the woman mad, while Lailo, wandering in the villa's surroundings, vainly tries to find the key to the mystery. A psychiatrist, Louis, firmly believes Lailo's madness is caused by her inner anguish and seems confident in her recovery. But he's wrong: the demented woman kills Katia and then throws herself out of a window. Brecht takes back his own identity, but his actions will have further tragic consequences...

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Budget

$0

Revenue

25-08-1974

Release Date

IT

Country

5.7

Rating

9

Votes

-

Age Rating

85 min

Runtime

Released

Status

Italian

Language

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Director
Renato Polselli

Renato Polselli

Renato Polselli (1922–2006) was an Italian film director and writer. Born in Arce, Lazio on 26 February 1922, Polselli began directing films in Italy in the early 1950s. He is best known for directing and writing the film The Vampire and the Ballerina. Polselli's film work since the 1970s was sporadic, and included work on horror film productions that remained unfinished. His later film works were often pornography made with his frequent collaborator Bruno Vanni. Polselli died in Italy on 1 October 2006. In his book on Italian horror film directors, Louis Paul described Polselli as being "a bit of a mystery" due to the rarity of films surrounding his work and that his work in horror films were "some of the most original, hallucinatory and sleazy, low-budget productions in the genre". Paul described his early efforts such as The Vampire and the Ballerina and The Vampire of the Opera as following the trends of Italian horror films of that era, with overtly sexual themes and being influenced by Hammer Horror films of the era.
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