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El Inclasificable director de Cine Jesus Franco se desnuda ante la cámara de Kike Mesa. un documental que se estreno en el festival de Sitges 2008 y que …
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![Chimes at Midnight (The Criterion Collection) [Blu-ray]](http://images-na.ssl-images-amazon.com/images/I/91%2BcszBYryL._SX342_.jpg)
Jess Franco worked for four months as a 2nd unit director on this 1965 Orson Welles masterwork, based on several plays by William Shakespeare. He directed footage for the stunning climactic battle sequence, which stands as one of the best ever filmed. He had planned to direct Welles in LA ISLA DEL TESORO, based on the classic TREASURE ISLAND, to be financed by the producer of CHIMES AT MIDNIGHT. Unfortunately the film was never completed.
Franco also post-produced his own version of Welles’ DON QUIJOTE in 1992, which was widely criticized for using inferior footage and dubbing. There’s a lot more to say about that film and we’ll be taking a detailed look at it in future posts.
Welles was a primary influence on the sprawling filmography of Jess Franco, both aesthetically and in terms of personal commitment to produce a singular vision. When I asked Jess who his favorite director was he immediately answered, “Orson Welles!”
CHIMES AT MIDNIGHT is my own favorite Shakespeare film and my favorite Orson Welles film and performance. It will be released on Blu-ray by THE CRITERION COLLECTION on August 30, 2106. It’s been a long time coming…
(C) 2016 Robert Monell
Jess Franco’s delirious erotic thriller is one of his best from his 1980s Golden Films Internacional collection. A dreamlike crime-horror-noir drama featuring Lina Romay at her most intense. Stunning visuals create a unique mood of suspense and dislocation worthy of David Lynch at his best. This is the North American digital debut of this sought after title. Planned for a release later this year or early next year.
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An upcoming Seth Rogan-James Franco film has a character in it loosely based on Jess Franco muse Soledad Miranda. I’ve never seen a Seth Rogen/James Franco/Megan Fox film and have no intention of doing so. It’s good she’s at least remembered and inspired the writer of the original novel to based a character on her. I wonder if she’ll continue to be remembered 46 years from now? I think she probably will since her films and legend will be around via some kind of media and on the Internet or what replaces it in the future. I think her image is and will continue to be immortal.
Uno de los misteriosos fotogramas de la incompleta JULIETTE, rodada al mismo tiempo que SIE TÖTETE…
Above: One of many rogue 1980-90s era VHS releases. This one from EDDE VIDEO. Besides these they were a number of gray market releases…
VIDEO SEARCH OF MIAMI aka VSOM: circa 1991
No longer available. At least it’s not listed in the Jess Franco section on their site. Note: the VSOM website was deleted since this was originally posted.
Film [this version]: *
Video: * 1.33:1 [including inserts]; NTSC VHS
Audio: *
This 1hr 45m composite contained approximately 35m of extra non-Jess Franco-generated footage, including erotic inserts [financed by Eurocine and shot circa 1973] and laughably unconvincing zombie footage reportedly filmed by Jean Rollin (very much in the “style” of the 1980 Eurocine coproduction ZOMBIE LAKE, directed by Rollin).
It composites an English language dub of the film with Spanish subtitles, TESTAMENTO DIABOLICO, along with scenes from, quoting a video generated scroll over footage from the Eurocine lensed garden orgy*, “…the French releases HOLOCAUSTE DE ZOMBI, Princesse De L’ Erotisme and the Italian-Euro print UNA VERGINE TRA I MORTI VIVENTI.” The scroll goes on to claim to be the “definative” (sic) version which includes all the footage deleted from the “diluted Anglo version.” This is really not correct since all this extra footage was never included in any “Anglo” home video version outside of this grey market composite. Some of the zombie footage does appear in such vintage VHS releases, like the WIZARD VIDEO release, which doesn’t include the earlier shot erotic footage.
Onscreen title: A VIRGIN AMONG THE LIVING DEAD, with TESTAMENTO DIABOLICO [in yellow subtitles below the main title credit font]. I guess this version may have some value for Franco completists {I paid an outrageous 25 dollars + shipping at the time!] but the MIDNIGHT VIDEO composite is in much better audio/visual quality and contains extra erotic/zombie footage not in the VSOM. That will be logged in a separate future post.
*The infamous “garden orgy” is discussed in detail by a panel, including Alain Petit, in “The Three faces of Christina” a 12 minute documentary by Daniel Gouyellete included as a special feature on the 2013 REDEMPTION Blu-ray release of the “director’s cut”. titled CHRISTINA, PRINCESS OF EROTICISM (79 minutes).
There was some commentary that this release still retained some erotic footage not shot by Franco. It’s nonetheless a welcome HD release. A 2k or 4k scan and full restoration, if the camera negatives are available, would also be welcome. The scene is also included in the bonus material and features mid 1970’s JF regulars Alice Arno (as a nude queen wearing only a cape, mask and crown, sitting on a throne and waving a sceptre), Pierre Taylou (EXORCISME), Waldemar Wohlfaart (YUKA) and Nadine Pascal (THE SADIST OF NOTRE DAME).
C) Robert Monell 2016
I had the chance, thanks to Kris Gavin, to be able to speak at length with Jess Franco
during the plans for this project, which would morph as reliably as a Spanish ghost
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Does anyone know if this is on Spanish DVD? The print I saw on the porn site seemed to be of VHS quality. You can program multilingual subtitles for this clip by using the settings gear icon to translate the French dubbed dialogue. This cheap porno is slightly better than Franco’s equally absurd PHALO/FALO CREST, another 1987 hardcore based on another popular 1980s US television series, FALCON CREST. Franco apparently lost money on these films by spending too much upfront on professional porn stars. Screenplay by “L.L. Laverne” and “Chuck Evans.” Lina Romay and Jess Franco.
This 1987 film was shot in Benidorm and Alicante and released on French Fil a Films video: FELLATIONS SAUVAGES, presumably where this French language clip is taken.
Betty Carter is the credited director. Lina Romay is credited as Jean (not Joan) Collins Produced by Phalos Films, Madrid! 80m.
We are extremely proud to present the North American home video premiere of Jess Franco’s underrated 80s supernatural-sex opus MIL SEXOS TIENE LA NOCHE!
A quasi-remake of his own earlier film NIGHTMARES COME AT NIGHT, this unusual thriller finds Franco at the height of his stylistic delirium:
“The dreamlike atmosphere is everything here and the director gradually develops a layered nightmare. Humid tints, tilted set ups in cramped interiors, painterly compositions and the most beautiful seven note phrase ever written by Daniel White do the rest of the job.” – Robert Monell, I’m in a Jess Franco State of Mind
We think this is one of best films of Franco’s fruitful partnership with Golden Films in Spain, perhaps the last extended period of greatness for the ever-prolific exploitation director, and couldn’t be more excited about bringing to an English speaking audience for the first time.
We hope to have this one out later this year, or perhaps early next. We haven’t yet seen the HD master and so don’t know what work still needs to be done, if any. More details to come in the following weeks, including brand new cover art by Justin Coffee!
Genre: Action
Country: Spain
Movie duration: 87 min
Movie status: Released
Movie release: 1985-01-01
Movie IMDB rating: 0.00
Movie quality: HD
Movie budget: 0$
Movie revenue: 0$
Production companies: Golden Films Internacional S.A.
Spoken languages: Español
Bangkok, Cita con la Muerte, in this context, registers as a commercial genre experiment, blending comic book-style imagery with a thriller plot. Franco has tried this before, notably in the delightful LOS BLUES CALLE POP (1983). Unlike that project, BANGKOK, is less a personal project than a theme room in his adventure universe. The overly formulaic plot combines drug running, Thai pirates (led by Lina Romay?), karate fighting, kidnapping, and parody to little effect. But it’s highly amusing to see how each genre element is placed, worked and detailed in the face of an obvious lack of funding and time. Franco told me in 2005 that his Golden Films Productions were “poor” meaning he had little money but complete freedom. But he also had to be able to market the result and hopefully make something on the back end, which he really didn’t. He just was able to keep on making these items because the cost with so low and he had his team in place.
Marta Flanagan, the yacht-going daughter of a millionaire is kidnapped by pirates. Her millionaire father (Eduardo Fajardo) hires a bumbling private eye named Panama Joe (Bork Gordon) to locate her. The daughter’s boyfriend (Jose Llamax) is also on the kidnappers’ trail. Panama Joe discovers the crooks are led by a drug smuggler (Antonio Mayans), who is in turn being double crossed by Queen Amania (Lina Romay). The detective tries to play both sides against the other, while uncovering deeper layers of corruption and double dealing.
BANGKOK is dialogue and plot heavy but always visually engaging, suffused with sunlight and candy colored costumes. Bork Gordon’s imitation Inspector Columbo ramblings just do not spark enough interest, but he’s an amusing Jess Franco detective, disheveled but able to get the drop on Malko at the end.. The characters are shown talking in cartoon dialog balloons (cf LUCKY, THE INSCRUTABLE) during the opening credits, but Franco unaccountably drops this unusual device immediately and never picks it up again. What’s left is a C-minus adventure with some ill-timed comic relief and ineptly staged karate stand-offs, in which the participants miss each other by miles. The lack of contact in a contact sport in an “action” film becomes amusing in itself, but would hardly please Bruce Lee fans.
Lina Romay has a few touching moments as the pirate leader, and is always a welcome, enthusiastic presence.. In one amusing scene, shes dances around in a tight swimsuit accompanied by a mechanical band. The result might been cute in 1973, but at this point in Franco’s career it’s indicative of his desire to create scenes which amuse himself first and foremost. Veteran character actor Fajardo reliably turns in a credible performance as the millionaire.
The movie benefits from shimmering photography of such exotic locales as the Canary Islands, with stock footage of Bangkok, and Shanghai. The Far Eastern locations, though, appear to be taken from stock footage from another film. Pieces of the /Pablo Villa/Daniel White’s brassy score can recall score in Franco’s earlier FU MANCHU AND THE KISS OF DEATH/KISS AND KILL (1967).
Robert Monell
One of the last images of LILIAN (La Virgen Pervertida) evokes the opening credits graphic of Howard Hawks’ Film Noir tent pole THE BIG SLEEP.
In the opening scene of this neo-noir the young, naive Lilian opens a door to the upscale villa in which she is staying and confronts a hardcore scene between Lina Romay and Jose Llamas. That perfectly sums up the issue with this project, which began as Clasificada “S” thriller which had to be upgraded/downgraded to a hardcore feature, necessitating the removal of some 20 minutes of the original’s runtime (84m). The reason was a Spanish law which had been suddenly imposed restricting the showing of “S” product in Adult houses. Jess Franco had to scramble and add this footage since his film would not be playable in more mainstream locations.
I assume the film did reasonably well but it didn’t please the director or those who looked for something more than another hardcore.
LILIAN… tells the downbeat story of a young woman (Katja Bienert) who collapses while staggering though a desert like area. She has been drugged, held prisoner and forced to be the abused party in an S&M show staged for the edification of the local police official (Daniel J. White) who is supposed to be leading investigations. Instead he takes detective Al Pereira off the case when he gets too close to the truth.
Al has discovered the comatose Lilian, who recounts her terror in a delirium at the residence of retired cop and friend Bernardo (Jess Franco), who counsels Al to forget it. He doesn’t.
Corruption is endemic here as in LES EBRANLEES (1972) and BOTAS NEGRAS, LATIGO DE CUERO (Golden Films Internacional, 1982), two very similar Al Pereira episodes. As in those films, Al Pereira is depicted as a hotheaded, high minded loser who will ultimately trigger his own exile from the human race.
The villains, the drug lord (Emilio Linder) and his wife (Lina Romay). who fetches him party girls and druggies at her nightclub are oh-so-chic, part of the local glitter scene. Franco shoots this as a 1980s Film Noir, a virtual encyclopedia of noir references and visual quotes.
Using long takes and wide angle lenses in the style of Sam Fuller (UNDERWORLD USA) and Robert Aldrich (KISS ME, DEADLY), but also incorporating his personal favorites THE KILLERS (Robert Siodmak version) and Howard Hawks’ THE BIG SLEEP in the flashback structure of the former and the opening credits of the latter, which are recreated in the penultimate scene when the camera lingers on a pack of cigarettes (American, of course), two whiskey glasses and a pistol on a table. The drug lord had just been sitting there having a drink when Al Pereira burst in and summarily executed him, Dirty Harry style. Al leaves his pistol as a calling card, knowing the police will trace it to him. Then he quickly hops into his car and drives away into a future life of assured damnation.
One evil bastard is done away with, but the corporate evil of the big combo will continue under the averted attention of the corrupt police official. And the principled avenger and seeker of justice Al Pereira will suffer the punishments of our sinful, fallen world.
The film has a brutal, nihilistic tone which is mediated by one of Daniel J. White’s most breathtaking scores, incorporating a kind of funk theme and an ethereal line. Some of these cues can also be heard in the director’s 1985 Jungle adventure, L’ESCLAVA BLANCA, a Manacoa production.
If one can forgive or fast forward the hardcore scenes there’s a very good film in there. Franco and Antonio Mayans are superb as the world weary receivers of Lilian’s sad story. This element of delirious confession to authority figures evokes EUGENIE DE SADE (1970) and Sade’s DIALOGUE BETWEEN A PRIEST AND A DYING MAN (1782).
The Spanish “Kiosk” DVD version was screened for this review. It has very good video quality, sharp and colorful with acceptable Spanish only audio. This version lasts approximately 73 minutes.
Filmed on locations in Madrid and Huelva.
(C) Robert Monell, 2016
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Autopsy of a film director…
Camino Solitario
The Story of the Eye
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Catholic horror represented by the presence of a crucifix in the foreground as Mathis Vogel abuses his victim (Lina Romay).
Here’s the cover for the upcoming Jess Franco Blu-ray collection. This can be preordered at http://www.doradofilms.com
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This is now available from REDEMPTION FILMS. It looks like there will be a delay in a planned review but I hope to have a guest review up asap.
Coming Oct 4, 2016 on Blu-ray from Redemption Films. Features: French language with English subtitles, audio commentary by Tim Lucas, alternate covered footage and original theatrical trailers. The commentary and alternate footage promise to be of special interest. I also hope the original credit sequence is restored.
The 1hr 22 m announced runtime is several minutes longer than any version I’ve seen. I also hope they do a future HD release of DRACULA CONTRA FRANKENSTEIN at some point. I’ve always considered DRACULA CONTRA FRANKENSTEIN, DAUGHTER OF DRACULA and EROTIC RITES OF FRANKENSTEIN as a sort of unofficial monster rally trilogy, Jess Franco style. Howard Vernon as Dracula, in similar garb and coffin bound in DOD, in the first two and the lumbering silver skinned Frankenstein (Fernando Bilbao) in two separate films, are unique, outre creations, which carry a distinct Jess Franco imprint. These are not Universal’s or Hammer’s…
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8. SPECIAL COVER WITH LIMITED NUMBERS
This Gothic-Sexploitation effort from the prolific Austrian actor-producer-director Adrian Hoven is definitely Jess Franco related, even if it’s doubtful that JF contributed the original story idea as is reported by some sources (OBSESSION: THE FILMS OF JESS FRANCO), but it does have some elements which are very familiar with his filmography.
Released in July 1968, this affair plays like a crude version of the kind of elegant hallucination which Jess Franco turned out with NECRONOMICON/Succubus (1967), another tale of wealthy hedonists going the way of all flesh.
Besides being written, produced and directed by Hoven, unders the beard Percy G. Parker, CASTLE features Franco regular Howard Vernon as the mad, vengeance seeking Count Saxon and the evil eyed Michel Lemoine as the sauve rapist Baron Braque. Most importantly it features Lemoine’s then-wife Janine Reynaud as a enthusiastic upscale party girl. Reynaud and Lemoine would play key roles in Franco’s own trilogy he made for Hoven’s Aquila Films, NECRONOMICON, KISS ME MONSTER and SADISTEROTICA, made just before CASTLE.
By the time CASTLE was made Franco was on his way to work for producer Harry Alan Towers on the production of THE BLOOD OF FU MANCHU (1968).
From left: actor Dan Van Husen, Producer Carsten Frank confer with Jess Franco on the Torremolinos set of KILLER BARBYS VS DRACULA in 2001. Spaghetti Western regulars Aldo Sambrell and Peter Martell, as Dracula, are also featured in the Horror-Musical-Comedy, a delightful tribute to Walt Disney by way of Bram Stoker, Jess Franco style. We’ll be revisiting this film here in the future. One of my personal favorites of his Shot on Video productions of the 21st Century….
| Video | |
| Cinematographic Process | Betacam SP |
EXORCISME (1974) Bluray
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Credited to “Lulu La Verne” UNA RAJITA PARA DOS (rough translation: A PUSSY FOR TWO) is Jess Franco’s most disgusting film. Nevertheless, it is not an uninteresting dip into the sordid waters of scatological hardcore.
Spy (Emilio Linder) in UNA RAJITA PARA DOS (Lulu La Verne, 1982)
Slaves of Crime 1986 European Trash Cinema print. Produced by Mundial Films; Directed by James Lee Johnson (Jess Franco); DP: Juan Soler Cozar. With: Lina Romay (Saï Sen, Fu Manchu’s daughter), Marco Moriarty (Marco Mandell), Mel Rodrigo (Jessie), Maite Saury, Erik Raymond, José Llamas, Maria Hill, Yolanda Mobita, Carmen Carrion (Magda). 87m, Agfacolor, widescreen.
(a.k.a. ESCLAVAS DEL CRIMEN)
This obscurity is a deliriously filmed erotic adventure that updates Sax Rohmer’s Fu Manchu tales (Rohmer receives screen credit, as “S. Rohmer”). Lina Romay appears as the daughter of Fu Manchu, made up with heavily applied exotic eye mascara and an outlandish hair style. She is the merciless Sai Sen, queen of crime. 
A title card explains that the action will unfold “in an exotic corner of the distant east, [a] paradise of drugs and corruption”… Rock star Rocky Guardas is kidnapped by Sai Sen’s seductive female agents and transported to a high rise hotel in the jungle, which doubles as an armed camp. He is the most recent victim of a large scale kidnap operation where the abducted are drugged, tortured, and forced to sign over bank accounts and other financial holdings while being held for further ransom.
This all-female criminal enterprise is investigated by a karate fighting private investigator and an Interpol agent who wears a pink shirt. The movie climaxes with an air strike carried out by Jump-Jets delivering a napalm payload into the encampment. This amusing, if sometimes slow-paced trifle is most interesting for the extensive use of lens filters which flood many scenes with eye pleasing halation effects, bathing the action with bright, candy colored waves which sometimes obscure the action.
The female bunch are a sexy and imposing army of Amazons that recall Shirley Eaton and her followers in THE GIRL FROM RIO/FUTURE WOMEN (1968). There’s more erotica on display here than that Harry Alan Towers production, with extensive nudity and some flogging, bondage, etc. thrown into the hazy mise-en-scene.
An action film with too little action and too much talk, nevertheless the hallucinatory lens flares and atmosphere of humid exotica exert a certain pull. The use of extensive stock footage to establish the milieu and is obvious and distracting. Nonetheless Jess Franco’s ability to pack each frame with interesting, arcane visual detail, personal fetishes and obscure Pop-Art/cinema references always gives the interested viewer something to discover. The downmarket studio exotica of Von Sternberg’s THE SHANGHAI GESTURE and MACAO are perhaps related points of reference.
One wonders what the Clasificada S crowds in Spain thought of this entry. Even when the action, actors and dialogue falter Juan Soler Cozar’s compositions continue to engage interest.
(C) Robert Monell, 2013
Everyone is a spy in this film, including Jess Franco himself as a hotel clerk-voyeur. The most amusing character is a happy-go-lucky spy nicknamed “The Queen” (Franco regular Antonio Mayans). His spyware includes the kind of audio pick-up that James Bond might have used in one of his classic adventures, enjoying the sounds of the various erotic adventures in adjacent hotel rooms.
