One can only imagine what drive-in audiences here in America thought of “Mansion of Madness” in 1972. Given the snazzy moniker “Dr. Tarr’s Torture Dungeon” and sold as a horror/exploitation title, “Mansion” might be loosely based on an Edgar Allen Poe story, but it’s much more of a bizarre fantasy film with seriocomic elements. Directed by Spanish cult filmmaker Juan Lopez Moctezuma; “Mansion” is an astonishingly beautiful film, filled with detailed composition and lush color. How it would have played alongside the likes of “I Dismember Mama” or “Stanley” in a drive-in triple bill is anybody’s guess, but it couldn’t have been further from the typical exploitation fare at the time.

“Mansion’s” eccentric style is evident from the beginning with a strange, red-tinged credit sequence that contains blown-out negative imagery from scenes late into the film. Fine horizontal lines that look as if the sequence was processed through a video screen add to the lurid quality. The story begins, not unlike countless Hammer films from the period, with a carriage ride through the woods; immediately establishing “period” without revealing a specific time. Journalist Gaston Lablanc (Arthur Hansel) is headed toward the French country estate of Dr. Maillard, who has converted his home into a facility for the mentally ill. Gaston has heard about the doctor’s unorthodox methods of treatment and intends to write a story about him. Riding with Gaston is his friend Julien Couvier (Martin Lasalle) and Julien’s cousin Blanche. Julien is an old associate of the secretive Dr. Maillard and has agreed to act as liaison for him. Once at the grounds of the heavily secured estate, the carriage is escorted by guards to the mansion/asylum. Gaston is left to his own devices when Julien decides not to enter the facility. (A dark fable-like subplot with “wacky” musical cues features Julien and Blanche being abducted by thieves; adding to the overall unevenness.) Inside the mansion, the journalist is greeted warmly by Dr. Maillard (Claudio Brook) who agrees to show him the estate. He discusses his method of treating patients, the “soothing system,” which appears to be a combination of unsupervised role playing and drug therapy. Patients wander around freely, some dressed in elaborate costumes, while a sedative is administered through a continuous billow of smoke.

Gaston is introduced to Maillard’s beautiful daughter Eugenie (Ellen Sherman), who appears to be under some hypnotic spell. Gaston is immediately taken with the young woman, unable to look away from her glassy eyes. Maillard takes Gaston into the dungeon where several patients are in cells and one is strung up Christ-like, slowly dying of starvation. Gaston is taken aback by the savagery and the doctor’s nonchalance at this sadistic aspect of his “soothing system.” Before he has a chance to engage in a debate about this seeming incongruity, Eugenie is commanded to perform a strange ritualistic dance with a sharp, phallic stone. At the climax of her performance, she attempts to stab Maillard and is quickly taken away. That evening, Gaston is sent to his room and apparently drugged where he has hallucinations of Eugenie calling him into the garden. He awakens only to overhear Maillard commanding his guards to have Eugenie killed. Gaston sneaks into the garden and, just before she can be sacrificed, runs off with Eugenie into the estate grounds. Here Eugenie reveals that the real Dr. Maillard is being held prisoner and that the inmates have literally taken over the asylum. The imposter is an insane associate named Fragonard, who helped instigate the takeover. What follows is Gaston’s attempt to escape from the estate; which quickly becomes a full-fledged Fellini/Satyricon-type indulgence. It’s a flawed film to be sure, but on a purely visual level it’s amazing. And unlike “Satyricon” and most Euro-sleaze, “Mansion” is rarely boring.

Moctezuma, who produced Alejandro Jodorowsky’s “El Topo,” also directed the visually arresting “Alucarda” a few years later. “Mansion” is clearly inspired by his collaboration with Jodorowsky as well as Fellini and Ken Russell. It also at times has an American musical sensibility with its expressive lighting and key musical moments. (The “dance of the scythe chickens” sequence is both amazing and inappropriate. Very Ray Dennis Steckler “Strange Creatures...” in feel.) Any film that conjures both Fellini and Steckler is certainly worth investigating, if only for its uniqueness. And while the striking cinematography of Rafael Corkidi does often resemble Giuseppe Rotunno’s work for Fellini, it has an aesthetic all its own. At its most lush, Corkidi’s masterful composition recalls paintings from the Italian Renaissance period. While the narrative often takes a back seat to the poetic visuals, the script is not as fractured as many reviews would lead you to believe. The script is credited to three people (not including Poe) and is perfectly serviceable especially within the context of fantasy/fable. Like most Euro genre films (which this most closely resembles even with its Spanish pedigree), it’s difficult to fault the performances too much. Hansel (Gaston) comes off best, if only because he is the only sane character throughout most of the film. Brook as Fragonard is appropriately over-the-top but is much more grounded in the Spanish soundtrack as opposed to his dubbed characterization. “Mansion” is offered in both Spanish (with subtitles) and English (dubbed); it goes without saying which is the stronger version.

Mondo Macabro has done an amazing job with this title, which has languished in pan-and-scan hell for decades. They have also restored the picture and sound; providing the most pristine, complete version of this film since its original release. The Dolby Digital stereo mix is exceptional; providing nuance and a new immediacy to the often-maligned soundtrack. The special features are rather generous given “Mansion’s” obscure background in the States. There is a short but informative documentary on the late director and a surprising interview with Guillermo del Toro on Moctezuma’s influence on his work. Also included is the original trailer (that really plays out like typical Euro sleaze), a small still gallery and a very entertaining montage of Mondo Macabro titles.

Though not a film for horror enthusiasts, “Mansion of Madness” is a truly breathtaking fantasy film that transcends genre. Much of its poor reputation comes from its horror/exploitation tag; a huge misnomer and one that haunts it to this day. “Mansion” is a visually stunning and wildly uneven work that surely deserves this Mondo Macabro release. Those that enter with an open mind might be pleasantly surprised.