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Plot: photojournalist and writer explore Cantabrian mountains and find witches.

The Witches Mountain (released back at home as El monte de la Brujas, for once released on the foreign market under its native title and not unnecessarily saddled with half a dozen alternative titles) is a wonderfully overlooked curio that perhaps deserves a bit more love than it usually tends to get. As a minor entry in the continental European witchcraft canon at the dawn of the wicked and wild seventies it’s ostensibly described as either boring or uneventful. While not entirely untrue it’s exactly that reservation and moderation that makes it so strangely compelling and hypnotizing in its minimalism. Mired by problems and legal complications during and after production The Witches Mountain didn’t make much, or any kind, of a splash. It immediately and unceremoniously sank to obscurity. While not a classic or mandatory fantaterror by any stretch of the imagination The Witches Mountain is a chilling little shocker if you approach it with measured expectations and are prepared to meet it halfway.

The men behind The Witches Mountain are Raúl Artigot and José Truchado. In the pantheon of legendary Iberian horror directors Raúl Artigot is a forgotten footnote. He wasn’t a one-hit wonder the way Claudio Guerín was with his A Bell From Hell (1973) before his premature death (or suicide, as some sources allege) forever enshrined him a cult legend. Neither was he a Miguel Madrid Ortega who helmed a few features before fading into irrelevance and never to be spoken of. No, Artigot (whether deserved or not) was and remained a complete nobody not really remembered at all. Artigot was a cinematographer who started in 1964 and in that capacity worked with Eloy de la Iglesia, Francisco Lara Polop, Germán Lorente, Javier Aguirre, and Mariano Ozores. Unfortunately their talent for shooting great looking movies on small budgets didn’t rub off on him. Producer José Truchado had experience in front of the camera as an actor and behind it as a writer and sometime director. It seems only natural that eventually the two of them would want to write and produce their own feature. When production company Azor Films (a subsidiary of Paramount with funding primarily coming from France) offered them the chance to produce their own horror. They took to shooting in and around Artigot’s native Asturias in northwestern Spain and wrote a screenplay incorporating the then-popular Eurocult subjects of diabolism and witchcraft that were popular at the drive-ins and grindhouses with titles as The Werewolf Versus the Vampire Woman (1971), Blood Sabbath (1972), and Erotic Witchcraft (1972) as well as Asturias most famous landmarks. While ambitious and timely in its own way, there were troubles ahead for The Witches Mountain.

Allegedly two actresses (their identities were never revealed) filed a complaint for a night shoot which required nudity. The claim was debunked but the production was heavily fined and on the basis of said complaint was denied a domestic theatrical release. The exact year of release is murky and subject of some speculation but most contemporary sources agree on 1972. What is known is that The Witches Mountain never had an official premiere - either domestic or abroad - except at the Sitges Catalonian International Film Festival in 1973 where it would have been in the good company of Harry Kümmel’s Malpertuis (1971) and Václav Vorlícek’s The Girl On the Broomstick (1972) as well as Ivan Reitman’s Cannibal Girls (1973), and Juan Luis Buñuel’s Expulsion Of the Devil (1973) had it actually made the selection that year. Alas, that didn’t happen because of the blacklist (and its resultant nonexistent domestic release, theatrical or otherwise) and it received but a special mention from the jury. In North America it was picked up by Avco Embassy Pictures which had a hit with Mike Nichols' Carnal Knowledge (1971) but was in steady decline on every other front. It has been given sporadic screenings by Filmoteca Española. After The Witches Mountain Artigot would work as a director of photography on Jess Franco's The Demons (1973) and The Erotic Rites of Frankenstein (1973), Amando de Ossorio's third Blind Dead installment The Ghost Galleon (1974) as well as the giallo Perversión (1974) and The Pyama Girl Case (1977). Truchado would later contribute to the screenplay of Hundra (1983). Assistant director Andrés Vich would go on to work with León Klimovsky on The Dracula Saga (1973) and The Vampires Night Orgy (1973). Suffice to say, not everyone grows up to be Paul Naschy, Amando de Ossorio, or León Klimovsky.

After a particularly difficult breakup with his longtime girlfriend Carla (Mónica Randall) photojournalist Mario (Cihangir Gaffari, as John Caffari) calls up his employer demanding his vacation days be revoked and he be given an, or really any, assignment. He’s given the order to photograph the mysterious famed The Witches Mountain in the Cantabrian Mountains in Asturias in the north of Spain. He takes a stroll around Ribadesella coast (most likely Playa de la Atalaya) where from a hillside he spots Delia (Patty Shepard) sunbathing (topless, of course). He strikes up conversation learning that Delia is a freelance writer and on a whim he invites her on his planned excursion. Delia has to pick up a few things from her house and while waiting outside Mario hears sinister choral chants. Delia shrugs it off and says he must be imagining things. As the shades of night descend they take up lodging in an ancient, dilapidated inn run by a semi-deaf, half mad local (Víctor Israel) who spouts ominous cryptic warnings about folklore of a coven of witches having taken up residence and warns them to stay far from the cursed mountain. The two push on regardless and the next day they’re making their way up to the next town. Mario’s car is suddenly stolen by an unseen figure and the two are stranded.

In a decaying and mostly abandoned village they are mystified to not only find Mario’s car but also the complete absence of any inhabitants. They are taken in by elderly Zanta (Ana Farra) who dresses in all black and is even more superstitious than the mad innkeeper they met earlier. Mario goes on a photo-shooting excursion and becomes lost in the woods. That night he spots what he believes to be a procession (or witches sabbath) as Delia succumbs to the hysterics of local superstition, peninsular folklore and mythology. Mario is an adherent of the empirical method and believes there’s a rational explanation for all the strange occurences they’ve been experiencing. Not that that helps Delia any as she grows more anxious as their journey progresses. Only one blonde villager (Soledad Silveyra) seems to be remotely within their age bracket. As the night grows darker Zanta reveals her true intentions of initiating Delia into their cult as she’s a spitting image of the head witch they venerate. In a hitherto undiscovered obscure corner of the dwelling Mario finds a bunch of dusty arcane grimoires, brooms, candles, a voodoo doll only to be mercilessly stalked by an aggressively meowing black cat that materialized out of the darkness. He’s startled even more when said black cat transforms into a comely blonde (Inés Morales) that aggressively, almost sexually, attacks him. Realizing that all he has experienced is not a figment of his fevered imagination he’s mortified when he learns that the high priestess of the coven is none other than his Carla…

The ensemble cast has both experienced veterans and the hottest starlets of the day. The biggest names here are probably Mónica Randall, Patty Shepard, and Víctor Israel. Multiple award-winning and nominated actress Randall was a pillar in macaroni western, Eurocrime and Eurospy and in the early 1970s had commenced her entrance into and eventual ascension on Spanish television. Randall could be seen in My Dear Killer (1972), The Devil's Cross (1975), and Inquisition (1977). She twice won the Prize of the National Syndicate of Spectacle (once in 1968 and then again in 1978) and was given the TP de Oro and Fotogramas de Plata for the work in television and in more recent years was given lifetime achievement awards. Shepard was an American expat and one of continental Europe’s many Barbara Steele wannabes. She primarily worked in Spain and can be seen in Assignment Terror (1969), The Werewolf Versus the Vampire Woman (1971), My Dear Killer (1972), The Killer Is One of Thirteen (1973), Crypt Of the Living Dead (1973), and the Bud Spencer-Terence Hill actioner Watch Out, We’re Mad (1974).

In much smaller roles are Inés Morales and Soledad Silveyra. Morales was in Feast For the Devil (1971), Curse of the Vampire (1972), The Return Of Walpurgis (1973), and Blue Eyes of the Broken Doll (1974). Why cast someone as beautiful as Inés Morales in a role so inconsequential and then don’t do anything with her? She plays a bit part usually reserved for Loreta Tovar, María Kosty, or Carmen Yazalde. Beggars can’t be choosers so don’t expect any actual big names like Bárbara Rey, Dyanik Zurakowska, Cristina Suriani, or Anulka Dziubinska. Silveyra was an Argentinian import that remains popular and active to this day. Cihangir Gaffari was in Jess Franco’s The Demons (1973), The Curse of Frankenstein (1973), and Amando de Ossorio’s The Ghost Galleon (1974). Luis Barboo was in The Case of the Scorpion's Tail (1971), Female Vampire (1973), The Loreley's Grasp (1973), Return of the Blind Dead (1973), Night Of the Assassins (1974), The Pyjama Girl Case (1977), Supersonic Man (1979), The Return Of the Wolfman (1980), and Conan the Barbarian (1982). The most recognizable easily is character actor Víctor Israel, he of Horror Express (1972), The Werewolf and the Yeti (1975), The Wicked Caresses of Satan (1976), and Hell Of the Living Dead (1980). Inés Morales and Víctor Israel both were in Necrophagus (1971). The average moviegoer might recognize Israel as the Confederate sergeant from Sergio Leone’s The Good, the Bad, and the Ugly (1966).

First and foremost The Witches Mountain contains some of the most gruelling and jarring hard cuts, not to mention that it regularly feels like two movies stitched together. Take, for instance, the pre-credit opening gambit that has Mónica Randall chasing Conchita Linares around an opulent mansion. Upon first glance you could easily mistake this for a continental European Village of the Damned (1960) imitation. It’s eerily prescient of the The Exorcist (1973) imitations that soon would flood the market. To make matters worse it’s immediately followed by Mónica Randall and Cihangir Gaffari discussing their amourous incompatability in a scene of social dysfunction that would be right at home in a giallo murder mystery. Apropos of nothing, both scenes will never be referred to (or referenced) again. Patty Shepard and Gaffari are the most unlikely on-screen couple this side of Sherry Buchanan and Franco Garofalo in Mario Gariazzo's Eyes Behind the Stars (1978), Laura Trotter and Hugo Stiglitz in Nightmare City (1980), or Antonella Interlenghi and Giovanni Lombardo Radice in City Of the Living Dead (1980).

No matter how hard and loud the English dubbing tries or no matter how many times Shepard takes her top off, there’s just no chemistry. During the second act Shepard wears a yellow suit, something Evelyne Kraft would do also in in Lady Dracula (1977) some five years later. While none of the four writers come up with any explanation for the witches’ motivations at least they have the decency to have their leads act not as clueless and complete morons. At various points the screenplay lifts plot elements from The Mask Of Satan (1960), Night Of the Damned (1971) and to a lesser degree The Wicker Man (1973). The eye-bleeding color and the reddest of blood so innate to Spanish horror are notably absent and the entire thing looks sort of earthen and brownish. Alfonso Brescia’s The Battle Of the Amazons (1973) suffered much of the same. Unfortunately there’s no Paola Tedesco to soften the blow. Fernando Garcia Morcillo’s score is simultaneously unobtrusive and completely overwrought as it alternates between atonal choral chants and laidback chanson.

The stars of The Witches Mountain are not so much Mónica Randall, Cihangir Gaffari, or Patty Shepard but the Ribadesella coast (most likely Playa de la Atalaya), the Cantabrian mountain range, the La Hermida gorge (El desfiladero de La Hermida) named after the Cantabrian municipality of Peñarrubia that it crosses, the Deva river as well as The Picos de Europa, the province of Covadonga and its two Lagos or lakes, Lake Enol and Lake Ercina. Whether the cave seen here is the actual Cuadonga (or "Cave of Our Lady") is anybody’s guess. Whereas Giorgio Ferroni used the sprawling natural environment to utmost effect in The Night Of the Devils (1972) here the enormous panoramic views of the Cantabrian mountains and wider Asturias aren’t properly captured nor fully exploited. Ramón Sempere and Fernando Espiga photograph them good enough but there was definitely more here. Judging by the jarring cuts and hard scene transitions The Witches Mountain feels as if it was subject to some extensive cutting by the censors/distributors. This implicitly suggests the existence of some vaunted nudity-heavy foreign market version, although there never have been any reports explicitly stating of one such cut even existing. When the movie got its creepy poster art (worthy of an 1980s South American extreme metal band or an early American or European death metal band) is anybody’s guess. Whatever the case, The Witches Mountain deserves more love than it’s currently getting.

Being remembered for something is better than not being remembered at all. When it fires on all its cylinders The Witches Mountain can actually be pretty suspenseful when it wants to be. Unfortunately a lot of the time it’s just kind of meandering and never really sure how far it wants to push some of its more identifiable elements. Take, for instance, the thematically similar Sukkubus (1989). It did more with less and had the good fortune of a feral and permanently undressed Pamela Prati. The Witches Mountain wants to be occult but never pushes its pagan aspect the way The Wicker Man (1973) so brilliantly did. Neither does it for that matter commit to the witchcraft so central to the plot. It borrows from The Night Of the Devils (1972) but never quite gets there. What a waste to have Mónica Randall, Patty Shepard, Soledad Silveyra, and Inés Morales at your disposal and not do anything worthwhile with them. Night Of the Damned (1971) only had Patrizia Viotti and somehow was much sexier. There’s even an argument to be made that Satan's Slave (1976) (with Candace Glendenning) told pretty much a similar story and did it much, much better. If it wasn’t the case already The Witches Mountain is one of those little cult curios begging for a grand high-definition 4/8K restoration. If anyone’s up for the task, here’s your chance…

Plot: Waldemar Daninsky fights bandits, witches, cannibals, vampires, and a Yeti too!

La Maldición de la Bestia (or The Curse of the Beast, released in Europe under the more descriptive title The Werewolf and the Yeti and in North America as Night Of the Howling Beast) is the eighth chapter in the epic El Hombre Lobo saga and according to director Miguel Iglesias it did better on the international market than at home. The final of the classic era at long last explores that burning question first raised in The Fury Of the Wolfman (1970) some five years before. What horrible fate exactly befell noted anthropologist Waldemar Daninsky on that ill-fated journey into the Himalayas? The Werewolf and the Yeti was Paul Naschy’s ultimate pièce de résistance and saw his cursed Polish nobleman face off against Nepalese bandits, witches, cannibals, and his ancient arch-nemesis, the ravenna strigoi mortii Wandesa – and a Yeti, too. The Werewolf and the Yeti is probably the best El Hombre Lobo this side of The Werewolf Versus the Vampire Woman (1971) and the ambitious The Return Of Walpurgis (1973).

This time Waldemar Daninsky has quite the gallery of rogues to withstand. His first order of business are a bunch of Himalayan cave-dwelling cannibal vampires Second, and more importantly, he has to defeat a band of Nepalese bandits led by Temugin and face the even greater threat of warlord Sekkar Khan. To top things off, Khan is but a plaything for the mighty Wandesa Dárvula de Nadasdy, the ancient and nefarious sorceress he had faced two times before in The Werewolf Versus the Vampire Woman (1971) and The Mark of the Wolfman (1968). Finally, and probably more of an afterthought than a real adversary, a Yeti is on the loose and killing people. It’s up to Waldemar Daninsky to stop all of them from wreaking havoc upon the innocent. One way of describing The Werewolf and the Yeti is like a greatest hits of sorts. What better way to start exploring the crazy El Hombre Lobo saga than with an episode that has a bit of everything (and plenty of craziness of its own) that came before? For one, it’s probably the single-most breakneck paced and veritably insane of the series.

Esteemed Polish anthropologist and psychologist Waldemar Daninsky (Jacinto Molina Álvarez, as Paul Naschy) is summoned to London, England at behest of his old friend and archeologist professor Lacombe (José Castillo Escalona, as Castillo Escalona). Lacombe has come into possession of irrefutable proof that the mythical Yeti does exist. Tragically, it was the last sign of life from the doomed Sylas Newman expedition into Dathokari, Kathmandu. Lacombe is mounting an expedition into Tibet with his daughter Sylvia (Mercedes Molina, as Grace Mills) and his team – Lacombe’s assistant Ralph (Ventura Ollé), Melody (Verónica Miriel), as well as strongmen Norman (Juan Velilla), and Larry Talbot (Gil Vidal) - with Daninsky acting as their guide. In Tibet native liaison Tiger (Gaspar "Indio" González) and his sherpas will guide the expedition deep into the land. The way Daninsky sees it the best place to start is where the Newman trail went cold. That place is the mountain range of Karakoram on the borders of Pakistan, India, and China.

Bad weather conditions force the expedition to seek an alternative route to the Rombuc barrier and the pass that the Newman expedition mentioned in their communiquées. Tiger is none too happy with the prospect and issues a dire warning that local folklore and superstition claim the "Pass of the Demons of the Red Moon" is cursed and thus to be avoided. Not wanting to endanger the life of his men Tiger helps the group find someone willing to venture into the cursed land. That man is cross-eyed, semi-alcoholic, and half-mad adventurer Joel (Víctor Israel). Waldemar volunteers to follow Joel into the pass but when he disappears under mysterious circumstances Daninsky soon finds himself lost in the endless snows. Exhausted and injured from his ordeal Waldemar seeks refuge in a nearby cave and finds that it’s inhabited by two attractive women (Carmen Cervera and Pepa Ferrer). The semi-feral women nurse him back to health – and just when he is strong enough to journey back he discovers both of them are cannibal vampires. In the throes of passion he’s bitten and cursed with lycanthropy but manages to escape.

Around the same time the remainder of the expedition is taken hostage by Temugin (José Luis Chinchilla) who takes them to the stronghold of Sekkhar Khan (Luis Induni). Khan is a vicious warlord who has plans to expand his dominion and his armed troops have thrown the region into chaos and destroyed any and all existing opposition. Khan has annexed it for his own and enslaved local ruler princess Ulka (Ana María Mauri). Before rejoining the expedition Waldemar is entrusted with a cure for his full moon sickness by monk Lama (Fernando Ulloa). While Sekkhar Khan obviously poses enough of a threat by his lonesome, the black force behind him, the immortal witch Wandesa (Silvia Solar) - whom Daninsky faced twice before in lives once lived - does not take kind of Waldemar’s interference, wolfen or otherwise, and has Sekkhar Khan dole out severe punishment for his transgressions. With the professor, Sylvia, and Melody imprisoned by Khan’s bandit forces and princess Ulka rendered powerless Waldemar has but one option: to risk life and limb to rescue his friends from the claws of the warlord and his diabolical mistress. To make matters worse Daninsky also has to keep them out of the hungry maw of that pesky Yeti that is still at large…

After the gothic horror and mad science of the prior six episodes The Werewolf and the Yeti ramps up the action-adventure aspect. At times it sort of feels like a budget-deprived antecedent to Raiders of the Lost Ark (1981) - except that that was a tribute to 1930s adventure serials, and Naschy’s feels like a 1950s adventure with a copious amount of blood, sex, and just about every monster that was popular in 70s horror. Actually, Naschy was never given the due credit for the inclusion of cannibalism here. Sure, it was more of the hokey The Night of the Sorcerers (1974) variety – but even by that standard he was early to the races. Man from Deep River (1972) is probably the earliest Italian example of the genre, and Argentina got there even earlier with the Libertad Leblanc jungle adventure Captive Of the Jungle (1969). Vampires and witches had been sweeping over Mediterranean Europe for a good five years by 1975, and they always had a been a staple of the Naschy oeuvre. In keeping with the times The Werewolf and the Yeti is easily the bloodiest and sleaziest of the classic El Hombre Lobo canon. With Mercedes Molina, Verónica Miriel, and Silvia Solar there’s plenty to look at and neither shy from taking their tops off when and where it matters. Naschy, of course, never hid why he casted all these Eurobabes in the first place either. Solar might not have the same prestige as Helga Liné, Adriana Ambesi, Diana Lorys, Mirta Miller, or Perla Cristal – but for an elder stateswoman she’s hardly the worst choice. If it wasn't for this Solar would never have done the possibly even more insane Eurociné gothic horror The Wicked Caresses of Satan (1976).

In a series that always prided itself in having some the most beloved and delectable Eurobabes, The Werewolf and the Yeti probably features the least known. Where it previously had former Bond girls (Karin Dor), local superstars (Aurora de Alba, Yelena Samarina, Perla Cristal, and Mirta Miller), hot-to-trot starlets (Dyanik Zurakowska, Rosanna Yanni, Fabiola Falcón, and Maritza Olivares), imported talent (Gaby Fuchs, Barbara Capell, Patty Shepard, and Shirley Corrigan), and reliable domestic second-stringers (Betsabé Ruiz, María Silva, María Luisa Tovar, Victoria Hernández, and Marisol Delgado) the only real star of note here is Silvia Solar. Compared to any and all of their illustrious predecessors Mercedes Molina, Verónica Miriel, and Ana María Mauri are nobodies, relative or otherwise. Why did we never see any French belles (Dominique Delpierre, Edwige Fenech, Françoise Pascal, Jeanne Goupil, or Muriel Catalá), Swedish sex goddesses (Leena Skoog, Solveig Andersson, Christina Lindberg, Marie Forså), Italo babes (Claudia Gravy, Erika Blanc, Gloria Guida, Rita Calderoni, Barbara Magnolfi, Paola Tedesco, Laura Antonelli or Femi Benussi) or exotic delights (Laura Gemser, Zeudi Araya, and Me Me Lai) alongside Naschy?

The appearance of Shirley Corrigan never led to an influx of UK babes (Barbara Steele, Candace Glendenning, Valerie Leon, Yutte Stensgaard, Kirsten Lindholm, Pippa Steele, or Judy Matheson). Why did no German sex comedy starlets (Christina von Blanc, Ursula Buchfellner, Olivia Pascal, Edwige Pierre, Christine Zierl) or Lederhosenporn regulars (Ingrid Steeger, Ulrike Butz, Judith Fritsch, Alena Penz, Flavia Keyt, or Gisela Schwartz), Cine-S superstars (Eva Lyberten, Andrea Albani, Sara Mora), or famous foreign imports (Lynn Lowry, Danielle Ouimet, Anulka Dziubinska) and Latin American horror royalty (Amalia Fuentes, Tina Romero, Susana Beltrán, Gloria Prat, or Maribel Guardia) ever turn up over the course of the latter El Hombre Lobo episodes? It’s unbelievable enough that famous locals as Maribel Martín, Carmen Yazalde, Silvia Tortosa or Tina Sáinz never were part of the series – or Naschy’s other work for that matter.

The Werewolf and the Yeti marked the end of an era. Four more sequels would materialize sporadically over the next two decades, but the halcyon days of Waldemar Daninsky were now well and truly behind him. During the eighties - a decade that saw a great decline in Italian and Spanish horror and exploitation - only two episodes were produced with Return of the Wolfman (1980) and the Japanese co-production The Beast and the Magic Sword (1983). After that Daninsky would only resurface with Lycantropus: The Moonlight Murders (1997) that was cut to shreds by director Francisco Rodríguez Gordillo. Closing chapter Tomb of the Werewolf (2004) fared possibly even worse being written and directed by American low budget impresario Fred Olen Ray and late cinematographer Gary Graver. Naschy and fellow veteran John Henry Richardson found themselves surrounded by a bevy of American screamqueens (Michelle Bauer, Danielle Petty, Beverly Lynne, Monique Alexander) in a production that bore little semblance to what Jacinto Molina had spent 40 years cultivating. It’s a sorry end for one of Naschy’s greatest and most enduring cinematic creations. Alas, time had not been kind to Naschy and somehow he had become a relic of a bygone age. Although reappraised in his native Spain in his old age and duly recognized and awarded internationally for his cinematic contributions, Paul Naschy would pass away, age 75, in Madrid in 2009. Naschy might be dead, but El Hombre Lobo is forever.