(Hell of a Gal explores the films of the ever luscious Euro Vixen Helga Line.)
The Wild West, the Trans-Siberian Express, a Gothic mansion…you actually can take the stunning Helga Line anywhere. But…she’ll usually be playing someone ruthless when you do it!
1974’s The Loreley’s Grasp is no different. Taking place in a tiny German village and at the all girl’s academy that is located on its outskirts, this tale, directed by The Blind Dead’s Amando De Ossorio, finds Line scantily enacting the deadly siren of the film’s title.
Beguiling Sirgurd (Tony Kendall), the hunter that has been hired to protect the students, with her black, string laden bikini and frequent dashes through the lakeside brush, Line is all exotic sexuality here. With moody stares and pouty concentration, she is an eternally compelling figure even though the plotline dictates that Sirgurd ultimately ignore her wiles for the more straightforward charms of school marm Elke, played by the equally beautiful Silvia Tortosa, who also shared the screen with Line in 1972’s Horror Express.
Full of obviously fake, but very bloody attacks (including several shots of beating hearts being ripped from chests) courtesy of Loreley’s alter-ego, a scaly green monster, this cheesy time capsule is enjoyable not only due to Line’s compelling attitude but because of its innate ludicrousness. While Kendall’s swarthy handsomeness is a plus, the character of Sirgurd has to be one of the densest Euro horror heroes ever. After being filled in by a local musician and a determined scientist about Loreley’s deadly origins, he still can’t figure out that she is the mysterious woman that he has encountered – even after she practically confesses to him during their initial seduction scene. Tortosa’s Elke is almost equally insipid. Despite the evidence of several brutal outdoor attacks, she is constantly sneaking out at night to confront Sigrud – often ending up being targeted by her slimy nemesis.
Interestingly, the Americanized version of the film inserted red flashes to warn audiences when the picture’s more gruesome elements were about occur and was retitled When The Screaming Stops. Barf bags were also provided as a gimmick for the more sensitive viewers, as well.
If they would have asked me, I would have told them to simply concentrate on the ample awesomeness of Line to draw folks in. Well…better late than never!
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!