Night Evelyn Came Out of the Grave

• The mansion in the film is the real Villa da Porto Colleoni ("Il Castello") in Thiene, near Vicenza — not a Turin estate. Erika Blanc recalled that the crew artificially "aged" the recently restored villa for the shoot, and the owner's father reportedly put his hands to his head when he saw his freshly renovated castle roughed up on camera.
• Erika Blanc's stripper character Susan, who vanishes early after barely escaping Alan alive, turns out in the finale to be the woman George and Gladys hired to secretly impersonate Evelyn's ghost as part of their inheritance scheme.
• Director Emilio Miraglia made only two Gothic-tinged gialli in his career: this film and 1972's The Red Queen Kills Seven Times, released about a year apart. The Red Queen was Miraglia's final film before his death in 1982.
• The film circulated abroad under a pile of different titles beyond the literal Italian translation, including The Night She Rose from the Tomb, Evelyn Raises the Dead, Evelyn's Back from the Dead, and the wildly unrelated-sounding Sweet to Be Kissed, Hard to Die.
• Giacomo Rossi Stuart plays Dr. Richard Timberlane, the physician who treated Alan's earlier breakdown — and who turns out to be in on Alan's counter-plot to expose George and Gladys rather than working against him.

Evelyn's coffin keeps turning up empty not through supernatural intervention but because Alan's own cousin George is staging the haunting to break his mind and seize the estate — and the film's ending confirms exactly that, even though the early scenes are shot ambiguously enough that a genuine-ghost reading holds up on a first watch.

Alan's violence toward red-haired working-class women isn't really about Evelyn's ghost — it's class-coded rage. He tortures and kills strippers and prostitutes as disposable surrogates for his unfaithful wife while, on his cousin's advice, marrying safely within his own social tier. The castle and its household staff (Evelyn's resentful brother, Alan's aunt) function as instruments of that old-money cruelty as much as Alan himself does.

The film can be read as Miraglia's commentary on the death of Italian Gothic cinema itself: Alan is the last lord of a dying genre, punishing the same red-haired ghost story over and over while a scheme dressed up as modern greed dismantles him from the inside.

Lord Alan Cunningham (Anthony Steffen), fresh out of an asylum after catching his red-haired wife Evelyn cheating before her death, starts luring red-haired strippers and prostitutes back to his mansion to torture and kill them as twisted stand-ins for his revenge. His cousin George Harriman — next in line to inherit — talks him into moving on and marrying a lookalike instead, so Alan weds the blonde Gladys in London. Back home, Gladys is spooked by séances, an empty tomb, and a household that treats her like an intruder, and starts to suspect Evelyn faked her own death. The "haunting" turns out to be a con: George and Gladys have been staging it together, with stripper Susan (Erika Blanc) posing as Evelyn's ghost, all to push Alan back into the asylum and grab his fortune. But Alan saw it coming — he faked his own breakdown to smoke the conspirators out, and it's George who ends up exposed and Gladys who drinks the poison meant to finish the scheme.