aka Deliver Us From Evil; Hellborn
Director – Dominique Othenin-Girard, Screenplay – Joe Augustyn & Walter Josten, Producers – Joe Augustyn & Jeff Geoffray, Photography – David Lewis, Music – Cory Lerios, Mechanical Effects – Ron Trost, Makeup Efects – Steve Johnson’s XFX Inc (Supervisor – Steve Johnson), Additional Makeup Effects – Howard Berger, Bob Kurtzman & Greg Nicotero, Production Design – Ken Aichele. Production Company – Paragon Arts International
Linden Ashby (Craig), Isa Andersen (Lilith), Debra Feuer (Kirstie), Karen Black (Rita), Helen Martin (Sadie), Doug Jones (Ken), Gary Hudson (Rodney), Sam Hennings (Joseph Crenshaw)
Lilith, the first wife of Adam, who left him in order to go and lie with demons, is reborn on Earth. She is picked up by Joseph Crenshaw, the editor/owner of Siren fashion magazine, and becomes obsessed with the idea of being on the cover. She kills Crenshaw and his family and starts killing and seducing her way through the Siren office until she has control of the magazine.
Known variously also as Deliver us from Evil and Hellborn, this mixture of horror and erotica received some good reviews in genre publications. Swiss director Dominique Othenin-Girard (one is unsure whether this person is a man or woman) was briefly hailed as a name to watch – although failed to consolidate that success, chruning out the unexceptional likes of After Darkness (1985), Halloween 5 (1989) and the dreadful Omen IV: The Awakening (1991) tv movie.
Othenin-Girard creates some occasionally worthwhile images – photos that come to life and beckon, Lilith’s appearance to hero Linden Ashby spitting an Alien (1979)-like snake out of her mouth. The best sequence is a trip into Hell filled with sweaty rutting bodies, people kissing who turn to reveal their faces stuck together, a woman who lifts her breasts to reveal they are living heads, severed heads kissing and so on. However, upon every occasion, Othenin-Girard overplays the effect and it becomes heavy-handed. Othenin-Girard also fails to generate much in the way of eroticism, at most a sort of torridness, achieved largely through the use of coloured lighting. Isa Andersen makes a fairly sizzling presence but the performance she gives is arch.
Night Angel is notable for its use of the interesting mythological character of Lilith, who according to Judaic lore was the wife of Adam before Eve. Despite the use of a credited adviser on the subject, the film fails to use her for anything other than routine horror ends. She remains a far more intriguing character than the film here is capable of conveying.
Full film available online here:-