Le Regine 1970 (Queens of Evil) : A Psychedelic Descent into Darkness in 1970’s Euro-Horror
SPOILER ALERT:
Seduction and Surrealism: Unraveling Queens of Evil:
Queens of Evil (1970), directed by Tonino Cervi (Today We Live, Tomorrow We Die 1968, Nest of Vipers 1978), is an atmospheric Italian horror film that blends elements of psychedelia, eroticism, and supernatural horror. The film, also known by its Italian title Le Regine, or Il Delitto del diavolo presents a thought-provoking allegory on the clash between counterculture ideals and traditional societal norms that is an infusion of high fashion – psych-folk horror- pastoral fantasy and dreamlike isolation, much like Tam Lin 1970, The Wicker Man 1973 and Psychomania 1973.
The film is part of a niche cinematic sub-genre that blends pastoral fantasy with elements of folk horror, set in the late 1960s to early 1970s. These films juxtapose high fashion with mature fairytale narratives, featuring unconventional behavior and a darkness of spirit, creating a unique atmosphere that merges glamour with nature’s mystique.
The narrative follows a young motorcyclist named David (Ray Lovelock) who encounters three mysterious and seductive women living in a secluded house in the woods. As David becomes entangled in their world, the film explores themes of temptation, freedom, and the darker aspects of human nature.
As part of obscure cult cinema – Cervi’s Queens of Evil (1970) is a beguiling cinematic oddity that makes it hard to define. This dark adult allegory, often categorized as Italian horror, is closer to a gothic fable of dark enchantment. A hypnotic sojourn into a world of counterculture critique, psychedelic imagery, and gothic fairy tale elements; at its core, it presents as a cautionary tale wrapped in the guise of a surreal nightmare, much like Bava’s 1973 fantasy horror – Lisa and the Devil in its broad chimerical brush strokes and its use of vivid hallucinatory illusion rather than a conventional narrative.
Tonino Cervi, a versatile Italian filmmaker who straddled the worlds of directing and producing, left his mark on cinema from the 1960s through the early 2000s. While his directorial efforts like the middling spaghetti western TODAY WE KILL…TOMORROW WE DIE! and the provocative nunsploitation film THE NUN AND THE DEVIL were notable; his true legacy lies in his exceptional work as a producer. He collaborated with some of Italy’s most celebrated directors, including Bernardo Bertolucci on THE GRIM REAPER and Michelangelo Antonioni on RED DESERT, released in 1964, premiering at the Venice Film Festival. He also worked on the landmark anthology BOCCACCIO ’70.
An Italian counterculture gem that will resonate with fans of the surreal and absurd, Queens of Evil is a vibrant and flamboyant film. It offers an enjoyable experience in its own eccentric way as Cervi’s direction blurs the lines between reality and fantasy, guiding viewers through a labyrinth of seductive illusions and hidden dangers.
The film’s hypnotic atmosphere, punctuated by moments of startling beauty and unsettling horror, serves as the connective tissue that binds its disparate elements into a cohesive whole. The surreal, phantasmagorical quality, coupled with its exploration of masculine desires and fears, elevates Queens of Evil beyond mere Euro-exploitation/horror, transforming it into a mesmeric journey through the subconscious. The languid pacing and oblique storytelling may alienate viewers seeking more conventional thrills. However, for those willing to surrender to its peculiar rhythms, its calm before the storm, the film offers a rich synthesis of ideas and images that linger long after the credits roll.
Queens of Evil is a cult classic for a reason. It invites us to rewatch with fresh eyes and sparks conversation, which is what cult films often do best. It manages to deviate from the trend of gothic horror by focusing on a more contemporary setting and themes, finding its place within counterculture cinema. Though the film does blend some aspects of gothic horror, its ruthless psychological gamesmanship elevates Queens of Evil beyond mere psychedelic pastiche and counterculture themes, which sets it apart from the more traditional Italian horror film.
In the context of Italian horror cinema, Queens of Evil emerged during a transitional period in the 1970s as it saw a decline in the pure gothic Italian horror genre, with the industry shifting towards Giallo films and occult-themed movies inspired by international successes like Rosemary’s Baby and The Exorcist.
Italian horror cinema significantly evolved during this period, moving from traditional gothic horror narratives to more contemporary, psychologically complex, and socially relevant themes. This shift reflected the rapid changes in the late 1960s and early 1970s cultural landscape.
The Vietnam War, social unrest, the rise of the counterculture, a lot was happening. People started to question those old systems of power and authority—complex ideas about society, power, and the human condition.
Queens of Evil reflected this transition, blending traditional gothic elements like the eerie villa and isolated setting but retaining a very contemporary look and feel. The film explores the era’s anxieties surrounding the prevalent counterculture and societal upheaval, mirroring the turbulent zeitgeist of its time.
The film draws parallels to fairy tales, with David comparing the house to “Snow White’s house,” setting up a dark fairy tale account. This comparison enhances the symbolic nature of the women as enchantresses or witches.
Along with the essence of an intensely bleak tale, it definitely possesses a duality. Queens of Evil manages to be both beautiful and repulsive. Echoing everything from ancient Greek myths to classic literature and the Bible. The dark hypnotic twist makes this film unique and trippy, as David is supposed to be the symbol of freedom, but then he falls under the Queens’ spell so easily. Maybe those hippie ideals were a little naive.
David represents the young idealists who rebel against the status quo yet remain vulnerable to corruption when his deepest longings are awakened. Ray Lovelock stars in this enigmatic tale as the lone hippie, David. Lovelock is a charismatic bad boy with a sculpted physique. As David, he is lavished with adoration by the sisters within an idyllic setting until he is ultimately led as a lamb to the slaughter.
The French actress Haydée Politoff during the filming of the movie El gran amor del Conte Dracula’, directed by Javier Aguirre, 1972, Madrid, Spain. (Photo by Gianni Ferrari/Cover/Getty Images).
Among his co-stars are Haydée Politoff, of the Eric Rohmer films THE COLLECTOR (1967) CHLOE IN THE AFTERNOON (1972), and also Count Dracula’s Great Love (1973). His other co-stars are Silvia Monti of A LIZARD IN A WOMAN’S SKIN (1971) and THE FIFTH CORD (1971); and Ida Galli, whose credits include LA DOLCE VITA (1960), HERCULES IN THE HAUNTED WORLD (1961), THE LEOPARD (1963), THE WHIP AND THE BODY (1963), THE PSYCHIC (1977) and many others.
At the heart of the film, Lovelock’s David is a mix of naivety, angelic beauty, and charm. David embodies the ideals of the hippie movement – freedom, non-conformity, and a rejection of materialistic values. His motorcycle journey through the Italian countryside serves as a metaphor for the counterculture’s quest for enlightenment and escape from societal norms. However, David’s idealism is quickly put to the test when he encounters the titular “Queens.”
Imagine David, the story’s doomed protagonist; he’s a free-spirited cruising through the Italian countryside on his motorcycle. It sounds idyllic, but we know there’s a twist coming. Like David in Queens of Evil, riding his steel horse down open roads, it draws a clear parallel to Peter Fonda’s iconic role as Wyatt in Easy Rider (1969). The open road becomes a metaphor for the search for personal freedom and meaning. Both films feature protagonists who embody the late 1960s and early 1970s counterculture ethos, using motorcycles as symbols of their desire for freedom and rebellion against conventional society.
In Easy Rider, Wyatt (Peter Fonda) and Billy (Dennis Hopper) embark on a cross-country motorcycle journey, encountering various aspects of American culture and facing hostility from those who oppose their lifestyle. Similarly, David in Queens of Evil encounters mysterious and potentially dangerous characters during his travels who also oppose what he stands for.
A striking parallel exists between the archetypal narratives of wayward, virile ‘princes’ or studs ensnared within a pastoral paradise and the insatiable, evil Queens (i.e., Ava Gardner in Tam Lin) and seductive sirens who seek to possess them. This clash of archetypes, the untamed masculine spirit versus the ruthless feminine intellect, reflects the deep-seated cultural anxieties and preoccupations surrounding the nature of power, desire, and the fear of women’s primacy in particular, as with Tam Lin, older women’s primacy.
Tam Lin and Queens of Evil feel akin to the psychedelic folkloristic cinema, which captures that brief moment when fashionable trends were turning towards folklore motifs. Films thrive on a strong narrative, and legends are fed by things that are false and things that are true.
From the mythic sirens to folkloric temptresses, male protagonists throughout literary and cultural narratives have repeatedly found themselves ensnared by seductive forces that promise liberation but ultimately threaten destruction.
For example, the Sirens from Greek mythology in Homer’s Odyssey are creatures who lure male sailors to their doom with their enchanting songs. Odysseus had to be tied to his ship’s mast to resist their temptation. The story of Pinocchio features a place called Pleasure Island, where boys are lured with promises of fun and freedom, only to be transformed into donkeys. Some versions of Sleeping Beauty depict the prince being lured into danger by the sleeping princess’s beauty. In certain folklore, creatures like Succubi or some interpretations of vampires specifically target and lure men.
These stories often serve as cautionary tales, warning against the dangers of temptation, curiosity, or naivety. They reflect the consequences of unchecked desires.
