Another variation on the damnation of Faust ,this waltz borrows from "mad love" -particularly the French version ("the hands of Orlac" ) starring Mel Ferrer as a pianist -and mainly from Levin's "Rosemary's baby" :the new friends whom the husband (Alda) find nice and helpful whereas the wife finds them intrusive :the "bargain " is even worse than in Polanski's movie.

The "supernatural " scenes are not convincing (nothing to match Rosemary's nightmare) ,but Jacqueline Bisset is an excellent actress (on the other hand ,Alan Alda is inexpressive, the changing in his personality does not really show) who carries the movie on her shoulders, and she gets strong support from Barbara Perkins as disturbing Roxanne and seasoned German actor Curd Jurgens.

Add a good final twist : you do not realize at once what really happened.

Myles Clarkson (Alan Alda) interviews world-renown pianist Duncan Ely (Curd Jürgens). He's a music journalist married to Paula (Jacqueline Bisset). Duncan takes an interest in his hands. He was a pianist before giving it up as a career. Duncan's daughter Roxanne (Barbara Parkins) is also interested in him. Paula grows suspicious.

This is fine. I like the premise but the movie is a bit too long. The story only supports a 90 minute movie at most. Two hours is too much. This horror story fits better as an hour long episode. It could use some mystery. If the story is told from Paula's point of view, the audience can discover the horrible secret along with her. All in all, this is fine.

A good cast and a clever storyline help to make this supernatural spooker a bit better than your average kind of fare. Short on actual supernatural content (a few weird dream sequences are all we get) and long on conversations, this is unfortunately let down by an overly wordy script which makes the film quite hard to watch, as it goes on so long as well.

On the plus side, it is a seventies film, which means there are a number of weird psychedelic visuals and some awful and absurd fashions to enjoy. There are a few chills too from the ROSEMARY'S BABY-style plot which shows just how powerful Satanism can be. The acting is all of a high standard, from Jacqueline Bisset as the tough heroine who won't be killed, to the scene-stealing Curt Jurgens as the rich but sinister pianist. However it's Alan Alda who carries the film as the mild-mannered everyday kind of man who gets a soul transformation, he may not be totally believable but he's fun to watch. Barbara Parkins is also good and unlikeable as the fiery Satanist while '70s fave Bradford Dillman is an unfortunate victim of the Satanic cult.

While THE MEPHISTO WALTZ has a few scattered good moments (the dog with the human mask, the weird dreams, the twist ending) it never reaches the scale of becoming a full-fledged classic, which is unfortunate. If you're a fan of psychological horror though, then this one might just be for you.