A movie in the 70s about a voodoo doll coming to life

A movie in the 70s about a voodoo doll coming to life

A movie in the 70s about a voodoo doll coming to life

The idea of Voodoo dolls sparks fear and conjures up images of violent and bloodthirsty revenge in popular films, books, and oral histories in North America today.

These stories report that Voodoo dolls are made by Caribbean cult members who bear a grudge against an enemy. The maker thrusts pins into the doll, and the target is cursed with misfortune, pain, and even death. But is there really anything to them? Are Voodoo dolls real? Or Are voodoo dolls superstitious?

The movie is a segment of three stories interwoven together.. The first, talks about a college student infatuated with his teacher. Unknown to him, he was playing into her hands and fell for her seduction which later led to his death.

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The second, a paranoid tale of two sisters - one good, the other evil —this was a case of double personality. At the end of the movie she ends up killing herself by using a voodoo doll and stabbing it.

The third about a Native American tribal doll that comes to life and terrorizes a woman in her apartment.

Trilogy of Terror (1975) is remembered as one of the scariest productions to air on primetime television. In particular, the third installment sticks out for being a hair-raising spectacle that ensured the nation would lose sleep for a week.

The same woman (Karen Black) appears in three tales as a blackmailed teacher — who is also a serial killer, a tormented lover — who later becomes possessed and opposite sisters — a case double personality 

Amelia"tells the story about a beautiful young woman who lives alone and has a contentious relationship with her mother. One day, a package she orders comes in the mail. 

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She buys the Zuni fetish doll for her anthropologist boyfriend. She describes it a Zuni warrior doll thinking it would make the perfect gift for her boyfriend birthday. It supposedly contains a hunter spirit kept in check by a golden chain. After a phone conversation with her mother that left her upset, she placed the fetish doll on the table which conveniently enough, falls off, letting loose the possessed doll. A scroll is attached in the box with the doll that says there is a spirit inside the doll, and the gold chain around its neck will keep it from coming to life.

Well, that shouldn't pose any problem as long as the chain is kept around its neck right!

As she enters the kitchen in the night to fix herself something to eat, she enters the living room to check on the doll and only to find out it is missing with the chain on the table.

She checks under the sofa— it's not there. Then goes into the kitchen? Not there either. "Come on, Amelia," she exclaims to herself, knowing either she is crazy or paranoid.

Soon enough, the doll attacks Amelia by stabbing her ankles. In a hurry, Amelia runs away and trips twice while running to lock herself in her bedroom.

Amelia frantically calls the operator in tears and tells them to contact the police for her. Then they asked where she was and she replied "I don't know where I'm located," she cries. Well, Amelia, then we're not sure the operator can help you in that case.

In tears and confusion, Amelia tries to escape and subdue from the doll while the Zuni warrior doll continues its wrath of terror around the apartment. She tried throwing a lamp at it and drowning it, but it did not work. After  which she gets a suitcase and throws the doll inside. Seeing as the doll was still trying to escape

Finally, Amelia figures out what to do. She throws the doll into the oven where it slowly quiets down. A black cloud of smoke fills the kitchen. Amelia tries to check on the demon, and the camera fades to black with the sound of her screaming.

All seems right with the world when Amelia calls her mother to invite her over to dinner. But we quickly learn the spirit has taken over Amelia, and the mom will probably die before digging into the pot roast.

The play ends with Amelia looking possessed awaiting her mother.

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