Less a remake of Tourneur's 1942 classic than a pretentious
psychoanalytical textbook on it, this makes a deliriously big deal of
the bestiality and adds incest for good measure. It's almost a camp
classic thanks to McDowell's laughably hammy contribution and
Giorgio Moroder's synth score, though Kinski delivers feline
mystique in spades. John Bailey's lensing gives it a kind of lush
surrealism, reminiscent of another irresistibly barmy oddity, John
Boorman's Exorcist II.
