Mario Bava’s The Whip and the Body (1963) artfully emphasizes gothic cinema’s perverse core. Even its camp aspects possess operatic intensity. In this scene Kurt, the prodigal son, appears to return from the grave as a revenant to torment his erstwhile betrothed, Nevenka. The best way to watch this clip, I think, is to mute it– which is a rough but enlightening way to judge film art.
They supposedly tell you who the killer is but from what I could tell, the curtain did it.