PANIC BEATS (1983)

Director: Jacinto Molina (Paul Naschy)

Writer: Jacinto Molina

Producers: Augusto Boue, Julia Saly

Cast: Paul Naschy, Julia Saly, Frances Ondiviela, Lola Gaos, Silvia Miró, Manuel Zarzo, José Vivó, José Sacristán, Salvador Sáinz, Charly Bravo

Paris architect Paul Marnac (Paul Naschy) relocates with his wealthy wife Genevieve (Julia Saly) at his childhood home in the French countryside. Clean air and tranquility are prescribed to help cope with Genevieve’s heart condition. However, the Marnac family home was built upon the grounds where once stood the castle of Paul’s notorious ancestor Alaric de Marnac. Legend has it that the 16th century nobleman killed his unfaithful wife and returns every 100 years to claim the life of another wife of the Marnacs. 

The Flashback Fanatic movie review

Ten years after introducing perhaps his most evil character of Alaric de Marnac in Horror Rises from the Tomb (1973), triple threat Spanish filmmaker Paul Naschy revives him in a very different sequel. Naschy writes, directs, and stars in Panic Beats. As in many of Naschy’s scripts, this has strong influences from other films while laced with even more pessimism than most of his stories. It also has a circular and ironic narrative making it unique and completely different from the previous Marnac film.

Panic Beats opens on a surreal and violent note in the 16th century with the evil Alaric de Marnac (Paul Naschy in a dual role) in full knight’s armor on horseback pursuing his unfaithful, naked wife (Carole Kirkham) through a weirdly lit forest. This stylized flashback has a nightmarish feel that is appropriate to the subsequent unpleasantness that occurs in the modern day. These contemporary events are often meant to make us question the reality of the situations presented. We wonder if they are actual or imagined on the part of the characters involved. Almost anything seems possible if you accept that the evil of Alaric de Marnac may still be infesting the Marnac homestead.

One of the advantages of someone writing scripts that he will star in is that the writer’s character gets to get it on with beautiful women. Naschy’s architect Paul Marnac is erecting more than buildings at more than one site in Panic Beats. That should give you some idea of the slippery morality that mires many characters in this film. The ripples of deceit and evil just keep spreading and the surprises keep coming until that last horrible and fitting denouement.

As Paul Marnac, Naschy seems more relaxed than in many of his other roles. Of course, almost any character would be less tormented than his signature role of werewolf Waldemar Daninsky. While Paul Marnac has his share of concerns, he seems to be one pretty cool customer. That’s probably perfectly appropriate for him once you figure out just where this strange tale is heading.

Naschy’s frequent co-star and this film’s co-producer Julia Saly should have all of our sympathies as Paul’s ailing wife Gevevieve. We don’t find out a whole lot about her background and their relationship except for what Paul relates about her to other characters. This makes us wonder with whom we should be empathizing throughout the course of this story. 

As soon as Paul gets an eyeful of Julie (Frances Ondiviela), the sexy and restless niece of his country home housekeeper Mabile (Lola Gaos), we know that infidelity may become a recurring complication in the Marnac line. Julie has a troubled and disreputable past and speaks her mind without much sentiment or tact. We are never sure how much of a disruption she may cause in this new, seemingly idyllic setting for the Marnac couple. 

As Mireille, Sylvia Miró fills out her leopard print loungewear with awesome aplomb. She also has some lines and stuff like that but I was panting too hard to hear most of them. She really is there to provide another sexy complication. This naked sleeping beauty is the most magnificent comforter to ever cover a bed. 

Once seasoned fright flick fans get most of the way through Panic Beats, they may think that they have seen it all before. Then they are in store for something that may seem out of left field and inappropriate. A lot of Euro-horrors seem to veer off down delirious detours just for effect. However, in this film the weird climax has been justified as Panic Beats closes in a vicious circle resulting in an ironic finish.