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PANIC BEATS begins with a t otally nude w oman with w elts on her bod y, running through a mis ty forest ful l of de cayed skelet ons. A knigh t on horseback is chasing her, and we soon learn that h e is Ala ric de Ma rnac (a wicked c haracter Naschy first created for HORROR RISES FROM THE TOMB ), vici ously k illing her for her unfaithful wa ys. After t he credi ts role, we a re taken to t he present whe re a descen dent of M arnac nam ed Paul (Nasc hy) is marrie d to th e wealthy Gene viève (Jul ia Saly) was h as some serious h eart prob lems. Paul decides to take h er to his ance stral hom e in the co untry f or some peace and quiet, but the supe rstitious-fil led set ting opens a Pandora’s Bo x of terrible o ccurrences. We soon di scover that Paul is a rea l son-of-a-bit ch who plans to scare his wife to death, plan ning to co ntrol her f ortune and continue his s ecret affair w ith sedu ctive b ad girl Mirei lle (Sil via Miró), wh o happens t o be the niece of the tar ot card-r eading h ousekeeper, Mabile (L ola Gaos). Pa ul’s malevole nt sche me works, bu t he still has to worry a bout an addit ional money-hu ngry mistre ss (this guy reall y gets around! ), the unforgivin g Mabile, as well as new fianceé Mireille who might be hid ing a thin g or two h erself. More gr isly murders f ollow, and the ghost of Marn ac returns f rom hell to punish the most d espicable human characte r in the f ilm. PANIC BE ATS was al so written by Naschy (und er his re al name J acinto Mo lina) w ho inject s the fil m with an old-f ashioned spooky hous e motif, beefed up with a mod ern movi e sense of vi olence and sexuality. The fi lm offers nothing t oo innovati ve storywise, and ev en Naschy adm its on the d isc’s extra s that it was partly i nspired by GASLI GHT and REBECCA , but he s eems to just to ss in a hodge podge of ex ploitatio n and horror i ngredients, w hile deliveri ng a styl ish and enjo yable e ffort wi th a num ber of twists and some gen uinely chillin g moments. The came ra shots an d lighti ng are b oth effec tive, and there& #39;s even doe s a cool set- up (muc h like what F reddie F rancis di d in THE SKULL and THE CR EEPING FLESH ) where we see the poi nt of v iew of Marnac through his dark helm et as he sta lks his female prey. G raphically, we are ex posed to everything fro m a pla te of bloody eyeballs, to victims being beate n relentle ssly with the various M edieval wea pons affixed o n the house’ s walls (fo r example , someone is axed in t he stom ach, followed by the s oaked e ntrails oozi ng out!) . Naschy’s mo st freq uent 1980s lead ing lady, Julia Saly, is not gi ven much to d o, but wit h her offbeat looks, i s a nice p resence nonethele ss. The promin ent female star here is Silvia Miró w ho is seen in the buff frequentl y, and she cert ainly makes for some well -appreciated E uro starlet ey e candy. Nas chy him self is ve ry good in the film, putting on co nniving facades, carrying a number o f women on a string, PA NIC BEAT S begins with a totally nude w oman with welts on her bo dy, ru nning thro ugh a misty for es
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