Blue Eyes of the Broken Doll

• Paul Naschy wrote the script under his real name, Jacinto Molina, and cast himself as Gilles. It was one of four collaborations he made with director Carlos Aured, alongside Horror Rises from the Tomb (1973), Curse of the Devil (1973), and The Mummy's Revenge (1975).
• The estate was Naschy's own country home in the Lozoya Valley north of Madrid, which Aured used to build the film's closed-off, isolated feel rather than renting a set.
• Composer Juan Carlos Calderon scored the murder sequences with a jazzed-up version of the nursery rhyme Frere Jacques, complete with bass, drums and violin, as the killer's calling card.
• The killer's twist is that a grieving doctor is harvesting blue eyes from victims to replace the damaged eyes of his dead daughter's preserved body, the broken doll of the title.
• In the US the film was cut and reissued theatrically and on VHS as House of Psychotic Women, then trimmed further for late-night TV under the title House of Doom.
• During the UK video nasty panic the film was seized and confiscated in police raids under Section 3 of the Obscene Publications Act 1959, though it was never formally prosecuted.

The three sisters are a deliberate misdirection engine. Naschy hands each one a visible wound or appetite, the prosthetic hand, the wheelchair, the nymphomania, so the audience keeps building murder cases against the wrong people while the actual killer hides behind a respectable profession. The whole house is a red herring designed to make the clinical, sane culprit invisible.

Gilles' murder hallucinations aren't supernatural, they're the film daring you to convict the ex-con on instinct. He looks guilty because of his record and his visions, and the script weaponizes that bias, the same prejudice that follows the institutionalized, before pulling the rug on everyone who assumed the outsider did it.

The doll of the title isn't a prop, it's the doctor's daughter herself, kept and 'repaired' like an object. The eye-harvesting reframes grief as collecting, a parent refusing to let a body be dead, which makes the murders less about a maniac and more about a man treating a corpse as a doll he can keep fixing.

Gilles, a drifter just out of an institution, takes a handyman job at a crumbling rural estate run by three damaged sisters: Claude with her orthopedic hand, paralyzed Yvette, and the man-hungry Nicole. Then a black-gloved killer starts hacking down blue-eyed women and dropping their eyes into a jar of water. Gilles, haunted by murder hallucinations and dragged into the investigation by his record, makes the perfect suspect. Naschy stacks the household with red herrings before the real harvest reveals who's been collecting those eyes, and what corpse they're meant for.