Spirits of the Dead (1968)

Introduction
"Spirits of the Dead" (1968) is an anthology film based on the works of Edgar Allan Poe. It includes three different stories directed by three celebrated auteurs of European cinema-- Roger Vadim, Louis Malle, and Federico Fellini. The movie is also entitled "Histoires extraordinaires" in French and "Tre Passi nel Delirio" in Italian. Presented as a special mix of scary, fantasy, and dark funny, the film attempts to stimulate the eerie atmosphere of Poe's tales while likewise showcasing the specific styles and visions of the directors.

First Segment: Metzengerstein
Directed by Roger Vadim and starring Jane Fonda and Peter Fonda, the first segment, "Metzengerstein", is based upon the Poe story of the exact same name. Embed in medieval Hungary, the tale follows the power-hungry and hedonistic Countess Frederica Metzengerstein (Jane Fonda) as she grows progressively fascinated by her cousin Baron Wilhelm Berlifitzing (Peter Fonda), the last descendant of the Berlifitzing household. The two families have been involved in a centuries-old competition, which is further emphasized by the Baron's stoic and virtuous disposition, triggering the Countess's fixation.

As the story unfolds, the stress between the two nobles grows, culminating in the burning of the Baron's stables and the death of his valued horses. The Baron dies while attempting to conserve his animals, and Frederica becomes persuaded that a wild black stallion she encounters is the embodiment of her cousin's spirit, seeking vengeance for his death. This supernatural connection between the Countess and the horse leads to her ultimate death.

The story showcases Vadim's fondness for luxurious visuals and cultivated decadence, emphasizing the clash between the characters' unethical habits and the moral retribution they deal with. Jane Fonda's performance, in specific, sticks out as she embodies the intricacies of a terrible and powerful woman driven by fixation and jealousy.

2nd Segment: William Wilson
The second segment, directed by Louis Malle, stars Alain Delon, Brigitte Bardot, and Katia Christine. Based upon Poe's "William Wilson", the tale is set in 19th-century Austria and follows the struggling life of a cruel and sadistic young man, William Wilson (Alain Delon), who's tormented by his doppelganger. The double, likewise called William Wilson, continuously intervenes in the protagonist's life to prevent his misbehaviors, triggering Wilson to spiral into anger and aggravation.

Throughout a series of occasions-- from Wilson's time at a boarding school to his later encounters with numerous ladies, including the precariously seductive Giuseppina (Brigitte Bardot)-- the double regularly appears to combat Wilson's cruel decisions and actions. The section concludes with a climactic conflict in between the 2 William Wilsons at a carnival, resulting in a violent struggle that ends the lead character's life.

Malle's analysis of Poe's exploration of guilt and conscience is marked by a gothic atmosphere, striking minimalist visuals, and Delon's reliable portrayal of a man haunted by his own darkness.

Third Segment: Toby Dammit
The last section, directed by the legendary Federico Fellini and starring Terence Stamp, adjusts Poe's "Never Bet the Devil Your Head", transforming it into a surreal and hallucinatory journey through the life of Toby Dammit, a washed-up British star who takes a trip to Rome in hopes of invigorating his career. Tempted by the pledge of a Ferrari and a possibility to work with top filmmakers, Dammit is challenged by the absurdity and decadence of the movie market, encountering different unusual characters and situations.

Throughout the story, Dammit is haunted by a little woman who has fun with a bouncing ball, a figure he analyzes as the devil. This threatening existence takes various forms and ultimately leads him to his doom throughout the climactic finale, where he loses his head in an attempt to jump a collapsed bridge.

Stamped's frenzied, irregular efficiency and Fellini's signature dream-like imagery combine to create an extraordinary ending that brings the film cycle-- showing when again that, in Poe's world, characters constantly should pay for their sins.

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