Plot: What’s it about?
In Dead Eyes of London, a madman stalks the streets and leaves behind a trail of bodies, with no end in sight. A string of wealthy men have turned up dead, murdered and then abandoned in local rivers. A twisted killer known as Blind Jack (Ady Berber) once slaughtered men in the same vein, but he has been inactive for a while. Even so, Inspector Larry Holt (Joachim Fuchsberger) suspects that the madman is back on the hunt. As he goes over the clues with intense focus, Holt realizes that Blind Jack isn’t the sole suspect. In fact, the more Holt uncovers about the murders, the more potential suspects surface. Even people who seem innocent in all respects, such the beautiful Nora (Karin Baal), turn out to have dark sides. As the murders continue, can Holt somehow sift through the clues and discover the truth? In The Ghost, Dr. John Hitchcock (Elio Jotta) seeks to cure his paralysis, though whatever means needed. He is in the care of Dr. Charles Livingstone (Peter Baldwin), who has lined up a most unusual method of treatment. A poison is taken by Hitchcock, which is then followed by an antidote, with hopes to bolster his system. This treatment is just a ruse however, as Livingstone and Hitchcock’s wife plot to bump him off. The plan succeeds, but when a phantom haunts the two, who will survive its wrath?
A double dose of shocks, this release from Retromedia is a fun bundle of dark thrillers, both of which are more than solid. I think The Ghost is the better of the two, thanks to the presence of genre hottie Barbara Steele (Black Sunday, Castle of Blood) and wondrous direction from Riccardo Freda. Freda supplies some wild visuals and atmosphere, as well as inconsistent moments, though the good outweighs the bad here. Just when you think The Ghost is sheer schlock, Freda injects a scene that wins you back to his side. Steele is in fine form here, with a better performance than I expected and she is given much to work with. I think she is more memorable in other roles, but this could be one of her better performances. Dead Eyes of London is also a solid thriller, but the film lacks the brash style of The Ghost. The tension is effective though, as the mystery unfolds and we’re drawn into this dark world. I loved the work of professional wrestler Ady Berber, who provides ample menace and makes a terrific stalker here. Of course, I don’t want to forget about Klaus Kinski, who can also be seen in Dead Eyes of London. I found both of these movies to be enjoyable, though as I said, The Ghost is the better of the two. I am able to give this edition a high recommendation, as Retromedia has treated both films with due respect.
Video: How does it look?
Both films are presented in 1.66:1 widescreen, though neither has been given the benefit of anamorphic enhancement. Dead Eyes of London looks quite good here, as the black & white visuals mask some of the defects. The image is on the soft side, but retains a lot of detail and never seems blurred. The Ghost was shot in color, which means the tribulations of time are a little more evident. I still think this is a good treatment, but the softness and other age woes are easier seen within these color visuals. Even so, for a movie of this age and nature, I think Retromedia has done some terrific overall work.
Audio: How does it sound?
The audio in both cases can be solid, but the material has some wear and tear, so don’t expect too much. The elements aren’t plagued by age related defects, but some problems do arise from time to time. I heard a little fuzz at times, but nothing too serious and on the whole, it all sounds more than decent here. The sound effects are thin here and there, while the music is solid, so it isn’t perfect, but far from bad also. The dialogue seems clean enough and never distorts, while the volume remains properly balanced throughout. Given the nature & budget of the movies, there’s not much else we could demand here.
Supplements: What are the extras?
This disc includes a selection of still photos, as well as theatrical trailers for both films.
