The Devil's Kiss

• Silvia Solar, who plays the vengeful countess-turned-medium, was a familiar face in Spanish genre cinema and a frequent co-star of Paul Naschy across multiple horror productions of the era.
• The film was a Spain-France co-production made through Eurociné producer Marius Lesoeur; it barely played Spanish theaters at all and was relegated to bottom-of-the-bill programming in French cinemas rather than getting a real release.
• Its original Spanish title is "La perversa caricia de Satán" ("The Perverse Caresses of Satan"); it circulated internationally under a string of alternate titles, including "Devil's Kiss" and "Le Baiser du Diable."
• Director Jordi Gigó (credited in some markets as "Georges Gigo") worked mainly as a writer and actor in Spanish genre film and directed only a handful of features, including Exorcismo the year before this one.
• Surviving prints are rough: a widescreen cut that aired on French television dropped the sex scenes and roughly 20 minutes of footage, while an American public-domain tape released as "The Wicked Caresses of Satan" was uncut but badly cropped and dark.

The revenge plot reads as class allegory under Franco-era Spain: Claire's vendetta against the aristocratic Haussemont family, carried out through a reanimated corpse instead of open confrontation, plays like the dispossessed settling scores with the ruling class through the only weapon available to them — superstition dressed up as the supernatural.

The Duke may know exactly what he's inviting into his castle. Bringing in a jobbing medium and a broke telepath for a private séance, rather than anyone with real credentials, suggests he's not looking for genuine spiritualism but for two grifters pliable enough to be used — or worth exploiting himself.

Gruber's insistence that the reanimation runs on science as much as black magic invites a colder reading of the whole scheme: less a demonic possession than a calculated murder plot dressed in Gothic trappings, designed to make Claire's revenge killings look like the work of dark forces instead of two con artists with a corpse and a grudge.

A ruined countess trades her title for the alias Claire Grandier and works the séance circuit as a medium, until an eccentric duke invites her and her down-and-out telepath partner Dr. Gruber back to his family's castle for a private sitting. What starts as parlor-trick spiritualism turns into something uglier down in the cellar, where Claire and Gruber dig up a dead pauper's corpse and reanimate it — part witchcraft, part science, controlled by Gruber's telepathy — then send it hunting the Haussemont family she blames for driving her husband to suicide. Gigó stages séances, corpse-robbing, and Gothic decay across drafty Spanish-French co-production interiors, more interested in mood than momentum. Euro-horror running on candlelight and grudge, where revenge wears a dead man's face.