Exorcism's Daughter

Original title: Las melancólicas

1971
R
1h 36m

IMDb RATING

4.7/10

158

YOUR RATING

Drama Horror

Tania, an asylum patient, is under the doctor's care while suffering raging behavioral effects that follow the death of her exorcised mother.Tania, an asylum patient, is under the doctor's care while suffering raging behavioral effects that follow the death of her exorcised mother.Tania, an asylum patient, is under the doctor's care while suffering raging behavioral effects that follow the death of her exorcised mother.

See production info at IMDbPro

IMDb RATING

4.7/10

158

YOUR RATING

See production info at IMDbPro

Awards
- 2 wins

Trivia
Writer/Director Raphael Alba named the leading man/hero after himself.

Goofs
It appears that over the years of re-releasing the film, the scenes in the early part of movie are out of proper arrangement. The head doctor is being introduced to the "inmates" in one scene, then followed by his arrival at the institution in the next scene, and Fuso should pour liquor on his hand to sanitize a wound after receiving it from a patient's bite, but the shots are reversed, so you first see him douse his hand with alcohol, then stick it in a patient's mouth.

Quotes
Rafael Alba: [Repeated and last line, to Tanya] You'll be free.

Connections
Featured in Cinemacabre TV Trailers (1993)

User reviews6

Review

Featured review

2/10

Nuthouse shenanigans.

I've been duped. With a title like Exorcism's Daughter, I was expecting another Euro rip-off of The Exorcist, complete with a foul-mouthed possessed woman spewing green vomit. That's not what I got.

This film was retitled to cash in on the success of William Friedkin's 1973 horror blockbuster, but the original title, Las Melancólicas (The Melancholic), is far more apt: it's a dreary, depressing tale about a liberal doctor (Rafael Alba, played by Espartaco Santoni) at a rural asylum trying to cure a woman (Analía Gadé) of her madness via progressive methods, and it's incredibly boring to boot.

I have my suspicions that the film is allegorical, with the untrusting townsfolk and brutal asylum guard Fuso (Francisco Rabal) representing Franco's military dictatorship, the insane women representing the oppressed Spanish people, and Alba representing the voice of reason. Or something like that. I'm no expert in the history of Spanish politics-I wanted spinning heads, not hysterical women screaming for almost two hours about wanting freedom.