16 April, 2014

Rare Jess Franco now available for online viewing!

Thanks to Alex Mendibil for alerting us at EL FRANCONOMICON that a number of Jess Franco films can now be viewed at the Spanish Filmoteca website for a subscription fee.Peliculas online, estrenos de cine, cartelera, noticias, contenidos gratuitos. Tu portal de cine en streaming en Filmotech.com
EL SINIESTRO DOCTOR ORLOFF @ Filmotech.com

Hopefully some unseen/rare titles will be regularly available. 


07 April, 2014

EUROCINE 33 CHAMPS-ELYSEES; Un Documentaire De Christophe Bier



Future Eurocine CEO Daniel Lesoeur stands behind Spanish director Joaquin Romero Marchent on the set of the Spanish lensed Eurowestern, LA VENGANZA DEL ZORRO (1962), co written by Jess Franco and co-produced by Eurocine, Paris.
 ****************************************************************************
TWO FEMALE SPIES WITH FLOWERED PANTIES, ZOMBIE LAKE, ORLOFF AND THE INVISIBLE MAN, HELLTRAIN, THE AWFUL DR. ORLOF, CANNIBAL TERROR, CRIMSON, GOLDEN TEMPLE AMAZONS, MANIAC KILLER, PANTHER SQUAD, THE HOUSE OF THE LOST DOLLS, OASIS OF THE ZOMBIES, the list of lurid titles goes on and on. And they all were produced or co-produced by the same French company, Eurocine, located on 33 Champs-Elysees in Paris, France, and still operating as an archive for DVD and Blu-ray releases of European Trash Cinema cult items directed by such legendary European tyros as Jean Rollin, Jess Franco, Pierre Chevalier, to name to a few. Women in Prison films, Nazi sexploitation, no-budget westerns, cheap horror movies, tacky crime films, white slavery epics, mad doctor tales were the stock in trade from the 1960s onward

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For those of us who collect, watch, rewatch and treasure these films, Eurocine was an overflowing font of twisted joy. This lovingly put together, highly amusing and information packed documentary tells the story of this wayward company from the days following World War II when a carnival exhibition hustler named Marius Lesoeur began renting out rides and sets to small film companies in Spain and then in France. Eurocine was founded by Lesoeur in the early 1960s and is now run by his son, Daniel.

Presented and narrated by Cinema Bis enthusiast Christopher Bier, who has amassed a fascinating and entertaining array of rare film clips from such obscure Eurocine productions as BILLY THE KID, a 1963 French Spanish western featuring future Jess Franco actor Jack Taylor (SUCCUBUS, FEMAL:E VAMPIRE) as a black clad villain, the lurid Parisian sex thriller, PIGALLE CARREFOUR DES ILLUSIONS with Alice Arno (THE COUNTESS PERVERSE), the atrocious Le Bad Cinema cannibal classic, CANNIBAL TERROR, Jean Rollin's Z minus zombie epic, LE LAC DES MORTS VIVANTS [aka ZOMBIE LAKE], the terror rampage of an invisible ape in Peter Knight's ORLOFF AND THE INVISIBLE MAN and Jess Franco's first horror film, GRITOS EN LA NOCHE. Everyone from American TV western (THE RIFLEMAN) actor Chuck Connors to Sybil Danning (PANTHER SQUAD) to WALKING TALL's Bo Svenson (MANIAC KILLER) ended up working for Eurocine as the 70s and 1980s progressed. Name directors like Jess Franco and Jean Rollin found homes there when other work opportunities dried up.

"Dan Simon" Eurocine beard for Jess Franco...

We are shown through the closets of Daniel Lesoeur which still contain the zombie masks from OASIS OF THE ZOMBIES, among other rubber treasures. A tour is also given by Lesoeur of the family country estate which hosted the shoots of ZOMBIE LAKE, Jess Franco's BRUTAL NIGHTS OF LINDA and many other enterprises. We see the staircases and rooms where many familiar scenes were lensed at double time at reduced rates of payment for crews and actors. Monica Swinn (the wardress in BARBED WIRE DOLLS), Roger Darton (the investigator in WOMEN BEHIND BARS), Jean-Pierre Bouyxou (Dr. Orloff in FEMALE VAMPIRE and the writer of a Eurocine Nazi exploitationer) talk about the ins and outs, ups and downs of working for such a company. Patrice Rhomm (FRAULEIN ELSA SS), Alain Deruelle (CANNIBAL TERROR) and Gilbert Rousel explain how they managed to direct feature films with little or no time and resources. It's all very entertaing and instructive to those who may want to do likewise. As Bouyxou points out, any company which could have produced a no-budget masterpiece like Jess Franco's FEMALE VAMPIRE can't be all bad.
  http://www.rdm-edition.fr/.../eurocine-33.../V60190.html

www.rdm-edition.fr
DVD Eurociné 33 Champs-Elysées, Le Film DVD Eurociné 33 Champs-Elysées en vente sur RDM-EDITION, achat et vente du DVD Film Eurociné 33 Champs-Elysées de Christophe Bier.

The RDM EDITION DVD is 16/9 color, stereo. French with optional English subtitles.15 minutes of Bonus materials including a stills gallery.

02 April, 2014

Zombie 2024: Complete Film/Goodbye and Hello to Jess Franco...

youtu.be

http://youtu.be/p4VY_RY49pM
Today marks the first anniversary of the passing of Jess Franco, whose inspiration, tenacity and personal commitment, was a great inspiration to us while working on our new film, ZOMBIE 2024, which we've chosen to release to the public on this symbolic day.

Jess Franco cameo in X-312 FLIGHT TO HELL

A courageous, visionary artist who never gave up, Jess Franco's career didn't move in a linear fashion, and neither did his films. It was a career which unfolded in cycles, while his films were often cyclical (EL SEXOS ESTA LOCO, SEX CHARADE, NECRONOMICON) or even circular (VENUS IN FURS, EUGENIE... THE STORY OF HER JOURNEY INTO PERVERSION) in structure. He was an adventurer, but he was also an entertainer who often said he just wanted audiences to enjoy his films. He worked within the restrictive Spanish film industry of the 1960s, the French film industry of the 1970s, returned with more freedom to Spain in the 1980s, during which he produced his very personal, often experimental series of films for Emilio Larraga's GOLDEN FILMS INTERNACIONAL company. Most of the time he worked with little money, within rushed shooting schedules, in terrible conditions with inadequate production resources. He ended up as an independent, DIY maker of digital films, some produced by his dedicated fans.


Red Lips in LA CHICA DE LOS LABIOS ROJOS

He often remade his films, using the same stories and characters, but in totally different styles. GRITOS EN LA NOCHE (1961) became EL SINIESTRO DR. ORLOF (1982), the latter being a deliriously colored, sexually explicit, sci-fi tinged re imagining of the earlier black and white classic.

 More Red Lips in ROTE LIPPEN/EL CASO DE LAS DOS BELLEZAS

LABIOS ROJOS, his rarely seen 1960 color feature which was shown today in 35mm at the Espanola filmoteca, introduced his female PI team the "Red Lips", and would engender a series of  Red Lips adventures in styles ranging from the Pop Art-psychedelia of mid 1960s (TWO UNDERCOVER ANGELS-1967) to the Classificada S films of Spain in the 1980s (La Chica de los Labios Rojos-1986). He was something like Picasso, revisiting similar shapes, subjects and themes in ever evolving visual styles. His final film, AL PEREIRA VS THE ALLIGATOR LADIES couldn't be more different in look and tone than his earlier films about his favorite Private Eye. The more you look at his films, and study the different periods, the more riches they reveal. 2013 saw numerous DVD/Blu-ray releases of such titles as GRITOS EN LA NOCHE, A VIRGIN AMONG THE LIVING DEAD, and many others. 2014 will feature more home video releases of his work. He is still very much with us...


francohimself.jpg

C 2014 Robert Monell

01 April, 2014

The Testament of Jess Franco

One year ago tomorrow, April 2, 2013, Jess Franco died in his Spanish homeland and became immortal. In fact, he was already an immortal. "To become immortal, and then to die..." as Jean Pierre Melville told Jean Seberg in Jean-Luc Godard's BREATHLESS. Tomorrow will also see the Espanola filmoteca's screening of LABIOS ROJOS, Franco's ultra obscure, virtually impossible to see out side of this venue, 1960 comedy thriller introducing the "Red Lips", the female duo of PIs who would figure in a number of future films (TWO UNDERCOVER ANGELS, KISS ME, MONSTER). We'll have a few more thoughts on the year since his passing tomorrow. Tomorrow will also mark the public release of the science-fiction-horror short subject, ZOMBIE 2024, written by myself and directed by "Mathis Vogel", largely as a tribute to the inspirational career of Jess Franco.A link to will be added here [Robert Monell]
Click to enlarge

31 March, 2014

Jess Franco Retrospective at Filmoteca española in April

I wish I could be at the  
Filmoteca española


to attend some of these screenings of rare 35mm prints...

RECUERDO DE JESÚS FRANCO (Filmoteca Española. Madrid, abril 2014)
01/04 Martes/Tuesday (Sala 2)
20:00 Tenemos 18 años (Jesús Franco, 1959). Int.: Isana Medel, Terele Pávez, Antonio Ozores.
España. 35mm. 76'
02/04 Miércoles/Wednesday (Sala 2)
20:00 Labios rojos (Jesús Franco, 1960). Int.: Isana Medel, Ana Castor, Javier Armet. España.
35mm. 97'
04/04 Viernes/Friday (Sala 2)
20:00 La reina del Tabarín/La Belle du Tabarin (Jesús Franco, 1960). Int.: Mikaela, Alfredo
Hurtado, Yves Massard. España/Francia. 35mm. 100'
05/04 Sábado/Saturday (Sala 1)
22:15 Gritos en la noche/L'Horrible Dr. Orloff (Jesús Franco, 1961). Int.: Conrado San Martín,
Howard Vernon, Diana Lorys. España/Francia. 35mm. 96'
06/04 Domingo/Sunday (Sala 1)
17:30 Rififí en la ciudad/Chasse à la Mafia (Jesús Franco, 1963). Int.: Fernando Fernán-Gómez,
Jean Servais, Marie Vincent. España/Francia. 35mm. 105'
08/04 Martes/Tuesday (Sala 2)
20:00 Camino solitario (Jesús Franco, 1983). Int.: Robert Foster, Candice Coster, Ricardo Palacios.
España. 35mm. 98'
10/04 Jueves/Thursday (Sala 1)
21:40 El secreto del Dr. Orloff / Les Maîtresses du Dr. Jekyll (Jesús Franco, 1964). Int.: Agnes
Spaak, Hugo Blanco, Marcelo Arroita-Jáuregui. España/Francia. 35mm. 83'
13/04 Domingo/Sunday (Sala 1)
21:30 Miss Muerte/Dans les griffes du maniaque (Jesús Franco, 1966). Int.: Mabel Karr, Estella
Blain, Fernando Montes. España/Francia. 35mm. 85'
15/04 Martes/Tuesday (Sala 2)
20:00 El conde Drácula (Jesús Franco, 1969). Int.: Christopher Lee, Herbert Lom, Klaus Kinski,
Jesús Franco. España. 35mm. 96'
23/04 Miércoles/Wednesday (Sala 1)
17:30 Necrocomicon/Gerträumte Sünde (Jesús Franco, 1967). Int.: Howard Vernon, Janine
Reynaud, Jack Taylor. Alemania. 35mm. VO German with Spanish electronic subs. 82'
1
24/04 Jueves/Thursday (Sala 2)
19:45 Los amantes de la Isla del Diablo/Quartier de femmes (Jesús Franco, 1972). Int.: Andrés
Resino, Geneviéve Deloir, Dennis Price. España/Francia/Portugal. 35mm. 84'
27/04 Domingo/Sunday (Sala 2)
20:00 Los blues de la calle pop (Jesús Franco, 1983). Int.: Antonio Mayans, Lina Romay, Trino
Trives. España. 35mm. 90'
29/04 Martes/Tuesday (Sala 2)
19:30 Killer Barbys (Jesús Franco, 1996). Int.: Maria Angela Giordano, Aldo Sambrell, Santiago
Segura. España. 35mm. 95'
30/04 Miércoles/Wednesday (Sala 1)
17:30 El sádico de Notre-Dame / L'Éventreur de Notre-Dame (Jesús Franco, 1979). Int.: Jesús
Franco, Oliver Mathot, Antonio de Cabo. Bélgica/Francia/España. 35mm. VE. 98'

 Jesús Franco (Madrid, 12 de mayo de 1930 - Málaga, 2 de abril de
2013). Cineasta prolífico como pocos, entroncado con una familia de
abultada tradición dentro de la cultura española, multifacético (realizador,
guionista, operador, músico, productor, montador, actor... Con
anterioridad a todo ello, crítico) y políglota, Jesús Franco representa un
caso estrictamente excepcional en la historia del cine español. Tanto
atendiendo a llamativas cuestiones estéticas (su obra aborda una serie
de géneros –en especial el thriller y el fantastique- desde planteamientos
fílmicos que en nada coinciden con los del resto de los directores
nacionales) como a inusuales factores de producción: su filmografía,
que roza la cifra record de doscientos largometrajes, se ha llevado a
cabo en las condiciones más dispares, a lo largo de cincuenta años
y en el seno de cinematografías como la española, la francesa, la
alemana y la suiza, con incursiones igualmente, en régimen de coproducción,
en la norteamericana, la italiana, la británica y la portuguesa.
Pese a todo lo antedicho, y muy significativamente, la obra de Jesús
Franco sorprende por una coherencia nada común en el colectivo de
los realizadores europeos de su generación que, voluntariamente o no,
ciñeron su trabajo entre los estrechos, ingratos y nunca debidamente
ponderados cauces de la serie B. De ahí que una película de Jesús
Franco (independientemente del grosor del presupuesto -que oscila
entre el más o menos desahogado y el virtualmente inexistente-, la
fecha de realización, las modas del momento y el país productor) sea
rápida e infaliblemente identificable como tal para cualquier cinéfilo
experimentado. Esta coherencia, además, alude simultáneamente
a factores de tipo formal y a principios conceptuales, ambos por lo
común confundidos entre sí hasta el punto de que no siempre resulta
tarea fácil discriminar si los unos determinan los otros, o viceversa. En
2
cualquier caso, desde el primer punto de vista una película de Jesús
Franco se caracteriza por un tipo de rodaje no tanto precipitado (como
viene a ser usual dentro del marco industrial en que siempre se ha
desenvuelto) cuanto fundamentalmente intuitivo, irreflexivo, ciegamente
convencido de las posibilidades y ventajas de la inspiración del
momento; lógico pues que hasta sus mejores títulos acusen altibajos
y una irregularidad básica: la febrilidad artística nunca puede desembocar
en equilibrio, y nada tan disparatado como pretenderlo así. Desde
la segunda perspectiva, la filmografía de Jesús Franco se revela como
el inmenso delirio de un cinéfilo empedernido, al consistir (patente y
entrañablemente) en mitómanas recreaciones de los géneros, estilos,
enfoques y hasta films concretos íntimamente reverenciados por el
autor, que se reproducen y personalizan desde las propias preferencias
y debilidades de éste, no siempre directamente emparentadas
con el hecho cinematográfico: el jazz -y sus derivaciones estéticas,
míticas y románticas-, el comic -clásico y de vanguardia-, un sentido
del erotismo más bien enfermizo y esencialmente visual, y cierto distanciamiento
humorístico.
El carácter pintorescamente disperso e incluso rocambolesco de la
vida y la filmografía de Jesús Franco ha motivado que las aproximaciones
críticas e historiográficas al respecto adolecieran de lagunas
insalvables, errores de gravedad e interpretaciones inevitablemente
incorrectas. El presente ciclo se propone, por ello, brindar una panorámica
preferentemente representativa de la obra del realizador,
que contemple artística e históricamente las sucesivas etapas de su
filmografía y por fin facilite la oportunidad de fijar una valoración medianamente
justa y consecuente del lugar que le corresponde ocupar
dentro de la historia del cine español.
Carlos Aguilar

26 March, 2014

LA CHICA DE LOS LABIOS ROJOS (1986)

[Un Film de Jess Franco/Produced by Gabriel Iglesias Martin Prod. Madrid/Cast: Karin Dior, Lina Romay (Terry Morgan), Robert Foster [Antonio Mayans] (Al Pereira), Jess Franco (Professor Carame), Jose Llams (Bryan Hudson), Trino Trives (Emir Ahmed Kalmanan), Mabel Escano]


The Girl with Red Lips is an rather obscure 1986 erotic thriller featuring two iconic Jess Franco characters. The Girl of the title is Terry Morgan, a female PI, aka The Red Lips, a reference to the female detective duo which fronted such titles as LABIOS ROJOS (the ultra-rare 1960  B&W title which is still MIA in terms of availability on VHS, grey market video or DVD anywhere), BESAME MONSTRUO and EL CASO DE LAS DOS BELLEZAS (both 1967). The film is narrated by none other than Al Pereira (Antonio Mayans) the director's favorite male PI, who also plays a supporting part in the film. Perhaps he should have been the focus since the adventures of our red lipped heroine are rather complicated and uninteresting, requiring long expository stretches of dialogue to move the action forward, or rather around in circles. Spanish speakers may get more out of this, but after several viewings this non-Spanish speaker still couldn't make out what was happening from one moment to the next.

As the above cap illustrates the "plot" involves the frantic search for a missing jewel, sought by a wealthy Emir as well as Terry Morgan, her partner, several other groups and Al Pereira. Al's voice-over mentions Perry Mason as well as other legendary investigators, but the lack of "action", both in terms of violence, movement and eroticism, sends the film on a downward spiral from which it never recovers. The action appears to be set on the Costa del Sol and in North Africa, but most of it unfolds in hotel rooms or crowed night clubs. The best scene occurs right at the very beginning when a car traveling down a dark highway crashes because the driver has been distracted by the sight of the female PI, suddenly illuminated in the middle of the road, flashing her nudity as she opens her long trench coat. A typical "Jess Franco" moment.  If only there were more of them.
 
Jess Franco's neon illuminated Nightclub World in La Chica de los Labios Rojos...

Franco is always more effective in creating erotic/psychological/menacing atmosphere through visuals, music and sound rather than dialogue/conventional exposition. The female PI also performs as a trumpet player in a smoky nightclub, which is a nice touch considering the director's musical background and his consistent focus on musician characters (cf VENUS IN FURS). But that's about it outside of the music score, mostly made up of familiar cues from 1960s and 70s Jess Franco thrillers. Lina Romay is watchable as always, even in her blonde "Candy Coster" wig, and Antonio Mayans is always a welcome presence, especially playing Al Pereira.
Red Silk (1999) Poster
The Red Lips PI duo would reappear as the Red Silk in the 1998 ONE SHOT Jess Franco digital era production SEDA ROJA.

[Directed by Jesus Franco/Produced by Gabriel Iglesias Martin Prod. Madrid/Cast: Lina Romay (Terry Morgan), Antonio Mayans (Al Pereira), Jess Franco (Professor Carame), Jose Llams (Bryan Hudson), Trino Trives (Emir Ahmed Kalmanan), Mabel Escano, Karin Dior]

24 March, 2014

MARI-COOKIE AND THE KILLER TARANTULA (1998) Vintage Review & Link to the Complete Film

MARI-COOKIE AND THE KILLER TARANTULA

Mari-cookie & The Killer Tarantula/incubus (Jess Francoversio


[ A VINTAGE REVIEW FIRST PUBLISHED ON MHVF in 2000; Thanks to John Charles]
Produced by One Shot Productions/Draculina Cine Directed and Written by Jess Franco
Photography: Raquel Cabra
Music: Jess Franco
Cast: Lina Romay (Mari-Cookie), Analia Ivars, Linnea Quigley, Michelle Bauer (Sheriff), Robert King, Peter Temboury, Amber Newman.

During the Spanish conquest of Europe a pregnant woman is raped by a conquistador. Shortly afterwards, a tarantula enters the woman and deposits its eggs. The spawn is a mutant female who transforms into a lethal spider when sexually aroused. Centuries later, in present day Spain an erotic dancer performs in a bizarre persona, "the killer tarantula." After her shows she picks up willing victims who will end up entangled in an awesome, tortuous web back at her lair. A local Sheriff (Michelle Bauer) becomes attracted to the performer while investigating the disappearances of several club patrons. Meanwhile, the distraught mother (Linnea Quigley) of a wayward stripper (Amber Newman) seeks out her daughter. All will eventually bear witness to the seductive powers of the mysterious creature.
hqdefault.jpg
Women in The Web....
A squiggly, green title announces "An Outrageous Film by Jess Franco," as if his long time fans needed to be primed for this softcore horror fantasia. The focus is on kinky sex and elements of deliberate self-parody are constantly popping up. The spider-woman motif goes all the way back to the director's 1961 pastel-colored musical VAMPIRESAS 1930 and Estella Blain in the classic MISS MUERTE (1965). The naked, tormented half alive bodies of victims hanging in the awesome web festooned across the tarantula's living room, the sado-erotic arachnid rubber-gear, the obsessed audience at the club, are all images which continue Franco's career long obsession with Performance.

The eye popping visual design of glittering colors and outre costumes hold sway during the extended sexual encounters between Romay and everyone else in the cast. Even such risible effects as the inflatable tarantula with a human face seems a reasonable synapse and bears comparison with the mutations in the 1950's version of THE FLY.

Lina Romay performs with enthusiasm and humor, though her physical appearance is somewhat at odds with the requirements of her role. She easily manages to upstage American scream queens Bauer and Quigley, although Bauer's Sheriff-outfit of black leather jacket, fedora, g-string and boots is something to behold. It all ends with the classic Fu Manchu threat, the world will hear from her again. In the spirit of the old Warner's cartoons there's a final imprint of "That's All Folks!"
(C) Robert Monell, 2014

19 March, 2014

ZOMBIE 2024 coming in April

To commemorate the first anniversary of the passing of Jess Franco... Mathis Vogel and myself have decided to present a limited release of our new science fiction-horror film, ZOMBIE 2024 on April 2, 2014. The films and characters created by Jess Franco were influential in the creation of this unique, visually stunning, mind boggling experience...

More information will follow soon...

April 2, 2014!
www.youtube.com|By mathisvogel

16 March, 2014

occhio sulle espressioni: linguaggio granitico

occhio sulle espressioni: linguaggio granitico: Zombie 2024 2014 Russia Regia: Mathis Vogel Scritto: Robert Monell Jesús Franco non c'è più, ma del cinema come il suo vive nell&...



Here's a review in a new film, directed by Mathis Vogel, written by Robert Monell, which will be released on the first anniversary of the death of Jess Franco in April....

12 March, 2014

The Hotel Entremares

Thanks to Alex Mendibil, the creator of the EL FRANCONOMICON blog and FACEBOOK page,  for discovering and posting these images and this information about a favorite Jess Franco shooting location from the mid 1960s onward. I'm copying it over here with Alex's permission for our blog readers. As he notes, films such as THE GIRL FROM RIO, VAMPYROS LESBOS, MIL SEXOS TIENE LA NOCHE. and many others, had various interiors and exterior scenes shot in the clubs, hallways, patios, cafes, shopping centers, hotel rooms/balconies, swimming areas, shops and lobbies of this complex. I'll be posting more on this location, which in in Murcia.[RM}

[Below: Alex Mendibil's original EL FRANCONOMICON post on FACEBOOK]
One of the most used locations in Jess Franco universe found at last!
The first town planning and infrastructure works were carried out in two phases:
- Phase 1 (1963-1964) : Work begins on the Gran Vía, the adjacent road or Cubanitos Bungalows Type III, Screen Studies, Urbanization Marysol, Jupiter Tower, Bungalows Type I and II, and Quinta Avenida, Miramar and Set Hex Complex, known as Black Tower, which was a milestone in the Region of Murcia because it offered a new way of life, through a second home to enjoy a great vacation.
- Phase 2 (1964-1965) : the Bungalows Type I and II, Screen Studies were completed and the works of the type III Bungalows, Hotel Entremares and Entremares Mall began.

In 1966, after the inauguration of Entremares Hotel was built an outdoors cinema, and next to the hexagonal towers, the Café- Restaurant "The Clubbing" was opened. Between Gran Via and Hotel Entremares was opened a shopping center with the same name, and about the same time the Club Nautico de La Manga, the restaurant Dos Mares, Navarra Tower and in the east end, the Hotel Galúa.
Las primeras obras urbanísticas e infraestructuras realizadas se llevaron a cabo en dos fases:
- Fase 1 (1963-1964): Comienzan las obras de la Gran Vía, viales adyacentes de los Cubanitos o Bungalows Tipo III, Estudios Pantalla, Urbanización Marysol, Torre Júpiter, Bungalows Tipo I y II, Urbanización Quinta Avenida y Conjunto Miramar y la Urbanización Conjunto Exagonal, conocida como Torre Negra, que supuso un hito en la Región de Murcia ya que ofrecía un nuevo sistema de vida, a través de la segunda residencia para disfrutar de unas excelentes vacaciones.
- Fase 2 (1964-1965): Se finalizaron los Bungalows Tipo I y II, los Estudios Pantalla y se comenzaron las obras de los Bungalows Tipo III, del Hotel Entremares y del Centro Comercial Entremares.
En 1966, tras la inauguración del Hotel Entremares se construyó enfrente un cine de verano (al aire libre), y junto a las torres hexagonales se abrió el Café-restaurante “La Parranda”. Entre la Gran Vía y el Hotel Entremares nació un centro comercial con el mismo nombre y, casi al mismo tiempo el Club Náutico de La Manga, el Restaurante Dos Mares, la Torre Navarra y en el extremo Este, el Hotel Galúa.
(Fotos de todocoleccion.net y cabodepalosylamanga.com)
(Fotos found in todocoleccion.net and cabodepalosylamanga.com)

Álex Mendíbil's photo.
Álex Mendíbil's photo.
Álex Mendíbil's photo.
Hotel bar.
Caseta flamenca (Flamenco's cabin)

Hotel Entremares
24 photos

[After reading this I revisited Franco's 1968, TWO UNDERCOVER ANGELS, in which this scene appears featuring a view of a large swimming pool which looks very much like the one pictured in the complex in the above photos]
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Interactive cinema moment...
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One of the most used locations in Jess Franco universe found at last!
The first town planning and infrastructure works were carried out in two phases:
- Phase 1 (1963-1964) : Work begins on the Gran Vía, the adjacent road or Cubanitos Bungalows Type III, Screen Studies, Urbanization Marysol, Jupiter Tower, Bungalows Type I and II, and Quinta Avenida, Miramar and Set Hex Complex, known as Black Tower, which was a milestone in the Region of Murcia because it offered a new way o...
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  • Robert Monell
For sale. I've got these in other editions, so no longer need to hold onto these. If you're interested in any, or all, PM me for price. Will ship world-wide. Eugenie is Region 1 NTSC, all others a
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THE GIRL FROM RIO (final battle scene)
— at HOTELES ENTREMARES
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