In the crypt of the remote castle of the Aguilars lies the recently-deceased body of Maria. Her husband Antonio is a jealous bully, his mute brother Ignazio is in a wheelchair peeping on his caretaker Sol, a novice. Also present are Miria, the couple's virginal daughter, and Isidro, a factotum who fears Satan's power. A frequent visitor is Juan Suarez, a doctor who wants Miria in a sanatorium for a month. She doesn't want to go. Isidro tries to exorcize the castle's evil spirits. Bodies pile up. Is Miria's mother truly dead, and who is Satan's tool? Written by

Plot Synopsis:
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TheAgonyOfPlasma from Kokura, Japan
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"La Bimba di Satana" by Mario Bianchi is actually a remake of Andrea Bianchi's supremely sleazy "Malabimba". It was shot as a hard core sex feature from the outset. There is plenty of explicit sex, perversity and full-frontal nudity in this lovely piece of Italian smut. The role of the innocent nun who is thrown into nightmare of possession plays again Mariangela Giordano, famous from "Burial Ground" and "Giallo a Venezia". There is also a little bit of zombie action, unfortunately the complete pornographic version of this piece of sleaze is probably lost forever. Still if you enjoyed "Malabimba" you can't go wrong with "La Bimba di Satana". The story of possessed Miria is just so wonderfully murky and sleazy that it truly has to be seen to be believed. She is apparently possessed by her dead mother, or her ghost, using the image of her daughter and is soon erotically enticing everyone in the castle and killing them off one by one.

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Steve Nyland (Squonkamatic) from New York, USA
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It has taken me a while to understand this Italian supernatural soap opera from Mario Bianchi, but thanks to a new English subtitled DVD from Kult Films of Germany it all make sense. While it may come off to non-Italian speaking viewers as a somewhat plodding, action deprived Gothic something-or-other, this is a pretty little perverse study in moods & style that deserves a second look by fans of Italian horror.

The plot is deceptively simple: A wealthy dirtbag with a taste for smack throttles his philandering wife in a fit of rage after discovering her illicit lesbian affair with the sexy, shapely nun employed to care for the man's invalid brother. During her funeral she possesses the body of her sexy teenage daughter and over the course of the film compels the girl to bring about the deaths of everyone in the household that the woman had slept with. Which was all of them, at one point or another, including a sinister looking butler who was apparently dabbling in the black arts down in his private little satanic shrine in the catacombs near the family crypt and somehow enabled the woman's allegiance to Lucifer.

Or, something like that. Legends abound that this was originally a full-blown hardcore sex film though the only surviving prints amount to a roughly 72 minute (PAL 25fps: all known versions are PAL transfers) celebration of moods and deviancy that is deceptively tame looking. Lesbianism, necrophilia, voyeurism, incest, drug abuse, and cold-blooded murder from beyond the grave prevail as director Bianchi sets a deliberate, meditative pace that wallows in the film's ornate, Gothic trappings, all of it set to a decidedly melancholy and evocative keyboard/vocal musical score by Nico Catanese that gives it all an air of sadness that is distinctively at odds with the rather high sleaze quotient.

The cement that holds it all together is another standout method performance by Spaghetti Western veteran Aldo Sanbrell as the heroin-shooting, domineering, loyalty obsessed aristocrat who is a living portrait of rage barely controlled. One of Sanbrell's gifts as a genre actor has been to embody the sort of contained violence that is always threatening to spill over and literally murder someone ... Rumors of his tenuous grip on sanity in the real world only heighten the pleasure of watching him with veins popping at his temples & sweat beading on his brow as he shakes with rage. He simply looks like a man who is capable of anything no matter how despicable, and the film's most harrowing segment turns out to be the sequence of ingeniously staged shots of him wheeling his invalid brother into the family crypt to be abandoned to sit there and rot, unable to move or even call out for help. What a guy.

Between weird, bizarrely staged killings there is sex galore, typical of the Italian "male gaze" oriented fantasies typified by interludes of female masturbation that are actually rather erotic for a change without being necessarily graphic. This is one of those Italian horror movies where women walk around completely naked or more modestly clothed in designer lingerie made to display the female body. Even the nun wears thigh high sheer white stockings with platform shoes more fitting for a go-go dancer than a sister of the cloth. And the bulk of the story is either set in the dank, crumbling catacombs or a marvelously ornate castle that for once is spotlessly clean, well lit, and gleaming with wealth & opulence. No cluttered cobwebby Dracula hovel this time.

The one drawback that Americanized viewers may find in the film is it's deliberate and meditative pacing, which to me makes it even more soap opera like, with the widescreen camera angles filled with the trappings of an Italian film producer's idea of the good life. All the while the haunting, melancholy musical score wails on in the background making this a more advanced form of a ghost story than even something like SUSPIRIA. I wish it was even more sad and contemplative, but to each his own.

6/10: Underrated and due for rediscovery, though for my money there probably was no hardcore version. People just wished their was.

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BA_Harrison from Hampshire, England
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Erotic Italian Gothic horror La bimba di Satana, from director Mario Bianchi, takes place in exactly the kind of imposing, brooding castle one would expect from the genre: sat atop a stormy hill, shrouded in shadows, with endless stone corridors and a dusty old crypt, it is inhabited by a collection of 'unique' individuals all hiding dark secrets. Clichéd though these elements might be, the film's narrative could never be described as predictable...

Aldo Sambrelli plays Antonio Aguilar, the recently widowed owner of the creepy castle whose hot teenage daughter Miria (the gorgeous Jacqueline Dupré) has been acting rather strange since her mother's death. Also living in the castle are sexy nun Sol (Mariangela Giordano), who is employed to take care of Antonio's paraplegic brother Ignazio (she gives very thorough bed bath), and a strange manservant named Isidro who conducts satanic rituals in the crypt.

Antonio spends much of his his time shooting up drugs and pestering Sol for sex; but the nun isn't having any of it, preferring to swan around in just her stockings, tempting poor immobile Ignazio. Meanwhile, Miria's fevered state worsens and eventually, she rises from her bed in a trance to kill...

Unfortunately, despite its unusual plot, copious nudity from its attractive female stars, and plenty of general perversion, including lesbianism, voyeurism, murder, possession and necrophilia, La bimba di Satana is a real bore for most of the time: Bianchi's lousy direction is torturously slow and the structure of the film makes matters more than a little confusing—at least until the film's final minutes, when some of the plot threads are thankfully finally pulled together (although I never did quite understand how the reanimated mouldy mummy fitted into proceedings!).

***EDIT*** The above review was for the softcore cut of the film, but having just seen the uncut version, which contains a couple of explicit sex scenes towards the end, my opinion of Satan's Baby Doll hasn't really changed that much: it's still boring.

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Bensch
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Mario Bianchi's "La Bimba Di Satana" (aka. "Orgasmo Di Satana"/"A Girl For Satan") of 1982 appears to be a remake of Andrea Bianchi's "Malambimba" of 1979, which I haven't yet seen. "La Bimba Di Satana" is a peculiar mix of stylish but nonsensical occult Gothic Horror, psychedelic music and pornography. When I started watching the uncut long version named "Orgasmo Di Satana" I expected it to be the typical slice of Italian Sleaze-Horror containing lesbianism, gratuitous nudity and perversions. However, I was nonetheless surprised to see the film suddenly include scenes of hardcore pornography after 45 minutes into the film (though the same is the case in several other European Exploitation productions from the early 80s).

The plot line is thin, and about as nonsensical as it gets. In an eerie Gothic castle, the death of Maria Aguilar (Marina Hedman) is lamented by her despotic husband, the castle owner Antonio Aguilar (Aldo Sambrell), their innocent daughter Miria (Jacqueline Dupré), and Salo (Mariangela Giordano), a gorgeous nun with exhibitionist and lesbian tendencies who is taking care of Antonio's crippled brother. After her death, however, Maria reappears within the castle walls; she seems to have possessed her daughter, and is apparently trying to drive the other inhabitants of the castle into death...

The plot makes little sense, and in-between the sleaze there are several hardly endurable nonsensical scenes in which nothing happens. However, the film is very stylishly filmed, the photography is gorgeous and the score is great (though a bit repetitive). The stylish death scenes are also worth a look, and in some parts, the film even gets pretty creepy. I have been a fan of Aldo Sambrell since I first saw him in Spaghetti Westerns years ago, and he is once again good in the role of the over-jealous and malicious tyrant patriarch here (though the script does not allow him to give his best). The ravishing Mariangela Giordano is known for her roles in the nastiest of Italian Exploitation films, including Adrea Bianchi's "Le Notti Del Terrore" (1981), in which she had her nipple bitten off, and Mario Landi's "Giallo a Venezia" (1979), in which she had her leg sawed off. Miss Giordano, who plays an exhibitionist lesbian nun here, is probably the most convincing reason to see this film. The beautiful young Jacqueline Dupré is also nice to look at as the possessed daughter. There are tons of gratuitous but very welcome female nudity, lesbian scenes and softcore erotica that Eurosleaze fans should appreciate. However, I would probably recommend to watch the 70-minute version which doesn't contain the (rather un-erotic) hardcore scenes. If you are searching for pornography, the internet is probably a better source than obscure 80s films like this one. The surprise effect of a movie suddenly turning into porn promises a certain amount of fun, though.

Overall, "La Bimba Di Satana" is a mixed bag. It is definitely worth a look for my fellow fans of sleazy Italian Exploitation cinema. Others should probably avoid it, as they might think of it as the worst movie ever made. It certainly is a rare film that combines style and nonsense in such an extreme manner, however.

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christopher-underwood from United Kingdom
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I have wanted to see this movie ever since first seeing the wonderful poster artwork, in the eighties, featuring the red winged devil his bloodied and clawed arms around a naked girl. Well, now I have and almost wish it could have remained an unattained desire, still full of great promise. But, no, despite there being many moments of real style, beautiful, naked ladies, a wonderful setting, complete with great cloister areas, not to mention that super poster artwork, this still manages not to work. There is plenty of luscious flesh but too much soft core self stroking and ponderous, nay plodding periods of far too much incomprehensible dialogue. We care little for anybody and with so little regard paid to keeping even the simplest of story lines on track, the only word for this is inept.

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Coventry from the Draconian Swamp of Unholy Souls
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I don't quite know what to make of "Satan's Baby Doll", to be honest. As the title suggests, it's another cheap, wicked-minded and umpteenth excuse for Italian producers to come up with sleaze and satanic nonsense – and it is – but on the other hand it's a surprisingly stylish and well-made film. Yes, really! Well, talking in terms of early 80's exploitation standards and in comparison with the other titles on director Mario Bianchi's repertoire, that is. It even has a plot that is slightly above average, competent acting performances (I'm not kidding!) and genuine young beauty that sadly only ever appeared in this one film. Oh Jacqueline Dupre, what an angel you are. The sinister events all take place inside the walls of an ancient family castle atop a hillside. This location is always filmed from underneath in the valley, just to make really sure the viewer knows we're dealing with a very isolated setting here. The lady of the house just died, but she was involved with black magic rites and Satanism, so her malignant spirit attempts to return from the afterlife. She finds the perfect host inside the ravishing body of her young daughter Myra and commands her to kill all the remaining dirt bags in the castle. So what we have here, basically, is an Italian variation on "The Exorcist" (another one), but with a Gothic setting and buckets full of gratuitous nudity. Also living in the castle is a masturbating nun, a Peeping Tom in a wheelchair, a sleazy lawyer, a crazy voodoo-obsessed servant and the sickly jealous and tyrant patriarch. There are quite a lot of senseless dialogs and boring parts you unfortunately have to struggle yourself through, but the death scenes are fairly imaginative and Dupre beauty & sex-appeal brightens up the screen with every appearance she makes. The other female leads are filled in by Mariangela Giordano (yes, THE woman whose nipple gets bitten off by her creep son in "Burial Ground") as the household nun and by adult movie starlet Marina Hedman as the undead but still very horny Maria. This is bizarre early 80's exploitation, to say the least , but it's worth seeing if only for the imaginative choreography, the uncanny set pieces, the ominous musical guidance (courtesy of Nico Catanese) and the naked body of Jacqueline Dupre. Shallow? You bet!

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lazarillo from Denver, Colorado and Santiago, Chile
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Producer Gabriel Crisanti along with his then wife, the sumptuous Mariangela Giordano, produced and sometimes co-wrote a number of horror/sex movies in late 1970's, always displaying an appalling lack of good taste that was sometimes a good thing ("Malabimba" and "Burial Ground")and sometimes not such a good thing ("Giallo Venezia" and "Patrick Lives Again") depending on the relative talents of the director. (The first pair was directed by a somewhat talented hack, Andrea Bianchi, while the second pair was directed by talentless hack, Mario Landi). This movie is unusual in that Crisanto uses a third director, Mario Bianchi, the brother of Andrea, to basically remake his brother's film "Malabimba", and the result, rather than being repellent and unpleasant like the Landi films, is more just toothless and boring.

A woman is murdered by her drug addict husband, and (while still an attractive nude corpse lying on the slab) she manages to possess her nubile young daughter and uses her to get revenge on her husband, her husband's bent doctor (who was also her lover), her husband's crippled brother (who was ALSO a former lover), and the local priest because. . .well, he's a Catholic priest. She doesn't really NEED to possess her daughter though since she also seems to have incredible psychic abilities that among other things allow her to reanimate the dead.

Of course, the name of the game of all these movies is sex, and here this movie is a mixed bag. If you favor mature, voluptuous "madonnas" like Giordano you will not be disappointed with her portrayal of a compulsively naked and self-gratifying nun (the mother is also pretty damn attractive given the considerable handicap of lying dead on a slab for most of the movie). On the other hand, if you prefer the nubile, barely legal "lolitas" the unknown Jacqueline Dupree is a very poor substitute for Catyl Laennac in "Malabimba" in that she fails to masturbate with a teddy bear or fellate her own uncle to death or even get naked below the waist. What will be disappointing to either camp though is that the inter-generational lesbian sex scenes of "Malabimba" that pass for "the exorcism" have been replaced here instead by a strange scene of necrophilia (albeit one that makes necrophilia look pretty attractive). It might have been pointless to remake "Malabimba" to begin with, but this is compounded by the the filmmakers not faithfully imitating the first film nearly enough.

There is also, by the way, a hardcore version of this film out there, but while some may disagree, nowhere in the history of cinema that I know of has hardcore footage ever IMPROVED a movie. Not really recommended. Stick with "Malabimba".

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Scarecrow-88 from United States
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The vengeful spirit of a murdered woman(..strangled by her loathsome cretin impotent husband, Antonio Aguilar, played by Aldo Sambrell), Maria(Marina Hedman, naked pretty much the entire film)wreaks havoc on all the inhabitants of an isolated castle on a hill, using the body of her daughter, Miria(Jacqueline Dupré)in order to do so. Those affected include Antonio's paraplegic brother, Ignazio, the family's medical doctor, Juan, their truly deranged "priest" Iridio, and nun Solo(Mariangela Giordano). All, except perhaps the bug-eyed priest, had sexual relations with Maria resulting in Antonio's rage, fueling his desire, after her death, to get revenge on each person involved with the woman.

Plenty of wicked deviant behavior and warped shenanigans in Mario Bianchi's answer to his brother's superior Malabimba, the Malicious Whore. Jacqueline Dupré is little more than a blank puppet whose eyes are soulless and lost, but she has a magnificent, gorgeously tanned naked body, seen mostly throughout the film moving around the castle in a gown confronting those in the castle as her mother seeks lives. Aldo Sambrell is a really despicable sleazoid creep, often attempting to ravage Giordana's Sol...Antonio is also an addict, using his brother's pain medication, injecting it in his arm. There's plenty of bizarre hi-jinx including the red-suited priest's tearing into the neck of a rooster, blood drenched teeth, bug-eyed lunacy, chanting over the mummified corpse of an Aguilar ancestor attempting to woo Maria's spirit from Miria's body, and generally wailing away on the concrete floor inside the bowels of the castle. The mummy is really an inspired moment in the film, a blast from the past finding it's way into this very strange possession thriller. Where Satan was supposed to be is never quite elaborated..that or how Maria was able to enter her daughter's body(..was she a practicing witch?). Mariangela Giordano essentially reprises a similar character to the nun protector in Malabimba, except her role as Sol is a little more naughty. Giordano has quite an effective striptease as she removes her habit, those long white stockings, letting her hair fall, with Antonio's brother peeping in on her, through the crack of the door, fantasizing about her masturbating and fondling herself. Mario Bianchi's camera work is quite good as is the atmospheric castle itself an effective setting. Short running time of 75 minutes with little padding, with the story moving along rather quickly. While the film doesn't quite match Malabimba in overall erotic power or twisted audacity, Satan's Baby Doll certainly still contains it's share of gratuitous elements. Like so many other films, Satan's Baby Doll just can not live up to it's alluring, macabre poster cover art.

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tomgillespie2002 from United Kingdom
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The freshly-dead body of Maria (Marina Hedman) lies in the crypt of the Aguilars. The castle's inhabitants stand round her body, glancing nervously and suspiciously at each other. Her daughter Miria (Jacqueline Dupre), starts to struggle with her mother's death, and begins to walk in her sleep, feeling her mother's presence inside of her. Maria's husband Antonio (Aldo Sambrell) is a wealthy tyrant who rules the castles with an iron fist, and when he sees his paraplegic brother Ignazio spying at the naughty nun Sol (Mariangela Giordano) getting up to some sordid antics in her room, he flies off the handle in a jealous rage. Meanwhile, Isidro, fears Satan's power and the control he will have over Maria. When the castle's resident doctor is killed after he tries to take Miria away, it is clear that Satan's power is indeed present, but who is he controlling?

The film finishes around the 1 hour 13 mark. The fact that I felt as if I'd just watched The Lord Of The Rings Trilogy back-to-back in one 10- hour session speaks volumes about the quality of this Italian supernatural erotic horror. It is basically a half-an-hour film stretched out as far as possible into something that resembles a feature. Apart from the expected bad acting, woeful script, and laughable silliness of it all, which you would almost expect, the film is suicidally boring. As Ignazio stares at the naughty Sol through her bedroom door and she pleasures herself in all her overacting glory, the camera cuts from naked flesh, back to his wide-eyes, back to naked flesh and then back to his eyes, and so on. This lasts for eight whole minutes. It's like Sergio Leone decided to make a low-budget horror with a sprinkling of soft-core porn, and somehow lost all his talent beforehand. Fans of over-the-top soft-core porn will rejoice, but for everyone else, this is pretty risible stuff.

www.the-wrath-of-blog.blogspot.com

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Michael_Elliott from Louisville, KY
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Satan's Baby Doll (1982)

** (out of 4)

Remake of Malabimba, The Malicious Whore follows the same storyline pretty much and also cuts out the hardcore sex scenes. This time out it's Jacqueline Dupre playing the young girl who is being possessed and Mariangela Giordano reprises her role as the nun. This is a pretty straight forward remake so if you've seen the original movie then you're not going to have any twists or turns that you don't see coming. It's hard to say which movie is better as both have good and bad things going for them. I think this one works nicely without the hardcore scenes but at the same time this film here isn't nearly as sexy or erotic as the original. This film is also pretty straight forward and doesn't contain as many campy moments, which is the main reason I'd rewatch the original over this one. This one here does have some great cinematography and some nice eye candy in the form of the beautiful naked women but I wouldn't really call this film necessary.

female frontal nudity|softcore|masturbation|fellatio|ejaculation|lesbianism|nudity|murder|lesbian|unsimulated sex|pubic hair|female pubic hair|oral sex|breasts|panties|vaginal penetration|sex|female nudity|incest|white panties|voyeur|

AKAs Titles:


Certifications:
Germany:Not Rated (BPjM restricted) / UK:18