We really learn a bit too much of Dr Hichcock and his unusual sexual practices until the 15th mark when the movie makes a real start with the eponymous doctor arriving at a county mansion with his new fiancé. For the next hour Ricardo Freda's movie seems to be doing a lot in two directions, Barbara Steele goes exploring the old mansion with a candelabra to find subterranean passages colored by turqoise filters, and Dr. Hichcock snoops around and is embarrassed to be discovered at night at the hospital he works trying to get his kicks on with one or the other buxom dead patient. Barbara Steele gets to faint a lot and there's a scene where the doctor goes out in the rain screaming the name of his dead wife. It's all very high strung and emphatic in the fashion of Gothic horror cinema and Robert Flemyng as Dr. Hichcock takes hilariously unsubtle facial expressions to indicate shock or suspicion or withdrawal. The sexual deviancy promised by the subject matter of necrophilia is largely absent, but some of the shocks are well timed and the sight of a ghastly old woman in a veil almost gave me the creeps, so this should bode well with the horror aficionado.