PANIC BEATS begins with a totally nude woman with welts on her body, running through a misty forest full of decayed skeletons. A knight on horseback is chasing her, and we soon learn that he is Alaric de Marnac (a wicked character Naschy first created for HORROR RISES FROM THE TOMB), viciously killing her for her unfaithful ways. After the credits role, we are taken to the present where a descendent of Marnac named Paul (Naschy) is married to the wealthy Geneviève (Julia Saly) was has some serious heart problems. Paul decides to take her to his ancestral home in the country for some peace and quiet, but the superstitious-filled setting opens a Pandora’s Box of terrible occurrences.　　We soon discover that Paul is a real son-of-a-bitch who plans to scare his wife to death, planning to control her fortune and continue his secret affair with seductive bad girl Mireille (Silvia Miró), who happens to be the niece of the tarot card-reading housekeeper, Mabile (Lola Gaos). Paul’s malevolent scheme works, but he still has to worry about an additional money-hungry mistress (this guy really gets around!), the unforgiving Mabile, as well as new fianceé Mireille who might be hiding a thing or two herself. More grisly murders follow, and the ghost of Marnac returns from hell to punish the most despicable human character in the film.　　PANIC BEATS was also written by Naschy (under his real name Jacinto Molina) who injects the film with an old-fashioned spooky house motif, beefed up with a modern movie sense of violence and sexuality. The film offers nothing too innovative storywise, and even Naschy admits on the disc’s extras that it was partly inspired by GASLIGHT and REBECCA, but he seems to just toss in a hodgepodge of exploitation and horror ingredients, while delivering a stylish and enjoyable effort with a number of twists and some genuinely chilling moments. The camera shots and lighting are both effective, and there's even does a cool set-up (much like what Freddie Francis did in THE SKULL and THE CREEPING FLESH) where we see the point of view of Marnac through his dark helmet as he stalks his female prey. Graphically, we are exposed to everything from a plate of bloody eyeballs, to victims being beaten relentlessly with the various Medieval weapons affixed on the house’s walls (for example, someone is axed in the stomach, followed by the soaked entrails oozing out!). Naschy’s most frequent 1980s leading lady, Julia Saly, is not given much to do, but with her offbeat looks, is a nice presence nonetheless. The prominent female star here is Silvia Miró who is seen in the buff frequently, and she certainly makes for some well-appreciated Euro starlet eye candy. Naschy himself is very good in the film, putting on conniving facades, carrying a number of women on a string,

极度恐慌1983：一场来自太空的末日预言

《极度恐慌1983》（原名：TheDayAfter）是一部1983年的美国电视电影，由尼古拉斯·梅耶执导，讲述了核战争爆发后，美国中西部地区小镇劳伦斯遭受毁灭性打击的故事。该片以其对核战争的真实描绘和对人类命运的深刻思考，在当时引起了巨大的轰动，并成为冷战时期反核战争的标志性作品之一。

故事发生在堪萨斯州的劳伦斯小镇，这里是一个典型的美国中西部城镇，居民过着平静而祥和的生活。但这种平静很快被突如其来的核战争打破。随着紧张局势的不断升级，美苏两国最终爆发了核战争，一枚苏联导弹击中了劳伦斯，将这座小镇夷为平地。

影片从战争爆发前夕开始，详细展现了战争前夕的紧张气氛。紧张的国际形势，频繁的军事演习，以及新闻媒体对战争的不断报道，都预示着战争的临近。影片通过对战争前夕人们的生活细节的描绘，展现出战争对普通人的生活带来的冲击。

核战争爆发后，影片重点描绘了战争给幸存者带来的苦难。在核爆后，劳伦斯小镇满目疮痍，人们无家可归，饥寒交迫。辐射污染无处不在，幸存者面临着饥饿、疾病和死亡的威胁。影片以写实的手法，真实地展现了核战争的残酷性，以及核战争带来的灾难性后果。

影片中，幸存者们的命运各有不同。有些人在灾难中失去了家人，饱受痛苦折磨；有些人在灾难中团结互助，展现出人性光辉；有些人在绝望中丧失了生存希望，最终选择了死亡。影片通过对不同角色的刻画，展现出战争对人性带来的考验，以及人们在面对灾难时的不同反应。

影片的结尾，幸存者们在重建家园的同时，也开始反思战争的教训。他们意识到，核战争没有赢家，只有毁灭。影片以悲壮的结尾，警醒人们珍惜和平，避免战争的发生。

《极度恐慌1983》的成功在于其对核战争的真实描绘和对人类命运的深刻思考。影片没有刻意渲染恐怖，而是以冷静、写实的风格展现了核战争的真实面貌，以及战争对人类带来的巨大灾难。影片的成功也与其上映时间紧密相关，正值冷战时期，美苏两国之间的核武器竞赛日益激烈，人们对核战争的恐惧也日益加剧。

《极度恐慌1983》的上映，在当时引起了巨大的轰动，并成为反核战争的标志性作品之一。该片促使人们重新审视核战争的危害，并呼吁和平与合作。尽管距离该片上映已经过去了近40年，但其所传达的信息依然具有现实意义，它警醒人们珍惜和平，避免战争的发生。

总而言之，《极度恐慌1983》是一部具有深刻现实意义的电影，它以其真实的描绘和深刻的思考，警醒人们珍惜和平，避免战争的发生。该片不仅是一部反核战争的电影，更是一部关于人类命运的思考。