15 June, 2020

Jose Benazeraf's ORGIES REVOLUTIONNAIRES (1983, rare film)


Watch Orgies Revolutionnaires 1983 video on xHamster, the best sex tube site with tons of free xczech Orgy ...
Jun 5, 2018

 I hope this link to watch this Jose Benazeraf hardcore rarity (at least rare to me, since I don't have any of the French DVDS and had to scrounge Internet porn sites). Good luck. This one has wit, irony, a fast pace and a subversive charge. One can never be too busy, even during times of political violence, for plaisir....

Viva Benazeraf!


Posted 6/14/20 rm

02 June, 2020

Dan Van Husen, R.I.P.

The prolific, versatile German character actor Dan Van Husen passed away on May 25, 2020 in England. Linda, his wife, was at his side. He died from COVID-19 complications and had also been in declining health, due to Alzheimer's disease, for several years. I was friends with Dan for around 20 years, I met him on a Spaghetti Western Internet board circa 2001. We then kept in touch through email, and eventually Facebook.

ABOVE: Dan Van Husen in Jess Franco's LA NOCHE DE LOS ASESINOS (1972). Dan was very friendly and generous with the time he took to help me understand his work with Jess Franco, whom I had been publishing articles and blog posts about since the early 1990s.

Dan had been in dozens of European genre films since the late 1960s. He had acted alongside Lee Van Cleef (in BAD MAN'S RIVER and other Spaghetti Westerns). He worked with Federico Fellini (in FELLINI'S CASANOVA), Werner Herzog, Tinto Brass (SALON KITTY) and many other legendary names. Between 1968 and 2019 he appeared in 145 films and television productions. At least 23 of his performances were in the Eurowestern category or Hollywood films such as EL CONDOR and DOC, which were filmed in Spain. His striking looks made him a natural for villain roles or unique character parts.

He acted in his first Jess Franco film, DER TODESRACHER VON SOHO (DEATH PACKS A SUITCASE) in April 1971. He appeared as a burglar working with the main villain (Horst Tappert). The film was a Bryan Edgar Wallace krimi, produced and co-written by CCC founder Artur Brauner, a German-Spanish co-production filmed in Alicante, Barcelona and London. Dan fit right into Franco's strange, mood-drenched universe and would be cast in four more of the director's films, including KISS ME KILLER and TENDER AND PERVERSE EMANUELLE (both 1973).





 His final film with Franco was the digital horror-comedy KILLER BARBYS VS. DRACULA (2002), where he played vampire hunter Dr. Seward. I spoke with Dan right after he made his final Franco film and he seemed to have had fun, being amused by Franco's frenetic, haphazard, low budget attempt to make a Dracula film, He was also pleased to be reunited with  1960s and 70s Spaghetti Western regulars Aldo Sambrell and Peter Martell, who also had roles in the shot-in-Spain musical-horror oddity.

ABOVE: Dan Van Husen was given a lifetime achievement acting award at the Almeria Film Festival

Dan was especially fond of his time spent making Franco's NIGHT OF THE SKULL, mostly because he got to act alongside his close friend, actress Swan Heinze, whom he also worked with in Franco's KISS ME KILLER, a Eurocine remake of the director's atmospheric 1962 noir LA MUERTE SILBA UN BLUES. He admitted he didn't have any recall whatsoever of appearing in KISS ME KILLER or TENDER AND PERVERSE EMANUELLE, in which he appeared as a tough homicide detective. Both of those films seem to have been made back-to-back in late 1973 or in such hectic circumstances that they were wiped from his memory. After all, Franco made 12 films in 1973, an amazing amount even for him. When I asked him if he remembered anything at all about them, he laughed saying, "Well, you know Jess, he sometimes made two or three films at the same time without telling the actors about how many films they were playing in"

Dan continued to send me emails inquiring about how I was doing, sending holiday greetings and reporting updates and information on his continuing acting career. I'll miss hearing from him.

Dan Van Husen was a memorable, reliable, versatile character actor and one of the good guys.

Thanks to Tom Betts.

(C) Robert Monell, 2020.

01 June, 2020

German Blu-ray: ROTE LIPPEN: SADISTEROTICA

This German re-release is of Jess Franco's 1967-68 Aquila co-production. This is the German version (RED LIPS), with a different runtime and score than the Spanish release. which should run about 89 minutes. The US Video release was retitled TWO UNDERCOVER ANGELS and cut out over 10 minutes of footage.

The German video release title was DER WOLF-HORROR PERVERS. The West German release version, according to some references, has a runtime of 92 minutes. This horror parody is heavily influenced by Pop Art aesthetics popular in the late 1960s, which is obvious from the splashy, brightly colored set design. Janine Reynaud is costumed in an outlandish black leather fashion design which would fit into a contemporary female Superhero/Supervillain film.

The comic book quality plot features erotic murders re-staged as tableaux vivants by a mind controlled werewolf (actor-director Michel Lemoine) under the direction of a crazed artist played by producer Adrian Hoven, who acted and co-produced NECRONOMICON/SUCCUBUS and KISS ME MONSTER, the two other Aquila productions directed by Franco

(C) Robert Monell, 2020

31 March, 2020

VAYA LUNA DE MIEL: In Search of the Trivial. Finding Jess Franco in a rediscovered film.




At first glance this long unseen 1980 film is another Jess Franco adaptation of Edgar Allan Poe's THE GOLD BUG. But is this frenetic comedy-adventure something more or something less than what it appears to be? In fact VAYA LUNA DE MIEL (What a Honeymoon!) is very similar in plot and style to Franco's 1981 LAS NOCHES DE LOS SEXOS ABIERTOS, which is a jaunty, erotically charged adventure-comedy about a couple in search of a hidden treasure, and it's one of several  films which he loosely based on that Poe story. But VAYA... lacks the nonstop sex, nudity and violence of LAS NOCHES.... it seems to have been deliberately made to appeal to more general mainstream Spanish audiences rather than the grind-house brigade. Franco was obviously in a very playful mood when he made it. So put on your white jungle hats and join in the fun.


                                                                   Jungle raiders

It opens with a pan shot over a crowed beach as Simon (Emilio Alvarez, who had previously appeared in Amando de Ossorio's "S" film PASION PROHIBIDA)), a clean cut young man, sits in the sun reading THE THERMOPYLAE. Yolanda (Lina Romay) walks past him, catching his eye. She then comes over and asks him to unfasten the top of her very skimpy bikini. They are married after a a brief flirtation and disembark for a tropical isle named Bananas, presumably a Banana Republic where the remainder of the film is set. All this occurs, along with a discussion of ancient Greek history, before the opening credits, signaling that the honeymoon is the kind of oneiric holiday from reality which often replaces any serious attempts at realistic verisimilitude in a Jess Franco film. A complicated honeymoon provides a perfect plot for a romantic comedy, Jess Franco style, in which the director is as much of a sight-seer as the characters. As the action proceeds Franco finds all manner of odd details in the local hotel and the streets of Benidorm, Elche, Alicante on which to focus his nervous lens.


                                             
                                                     Las Noches De Los Sexos Abiertos

Once on the island our couple become almost immediately embroiled in a search for a hidden treasure which has been already initiated by several separate parties, including a local group who want it for their town's coffers, a vacationing gangster (singer-director Max Boulois), another criminal group who closely track the couple, and a secret agent (Antonio Mayans). As in the Poe story the couple come across a series of clues which have to be carefully pieced together to reveal the location of the treasure. The first clue is discovered in the capital of the island, A dingy town which seems to be largely overtaken by a sprawling amusement park. The park is outfitted with various attractions, shopping markets, carnival rides and a Funhouse out of which stumbles a suspicious character (played by Jess Franco) who has just been shot by several gangsters. The couple is given a piece of blank paper as the dying man dying man repeats the word "beetle", which turns out to be the golden bug of the story. A Chinese inscription later appears on the paper after it is left in the sun while the couple are at a beach.

Of primary concern to Franco in this sequence are the various sculptures, images and icons of animals, demons and other bizarre figures which are everywhere in sight around the park. A sculpted vulture and a pink clad devil, among other odd figurines, seem to observe the confusion and pursuit of the couple by the gangsters and other dodgy looking individuals.. Franco's ever-active zoom lens keeps closing in on these objects as if they were as important as the human characters and the story itself. In fact, it could be intuited that they are more important in the director's obsessive, esoteric mise-en-scene. Codes, either musical or linguistic, are a favorite Jess Franco stratagem to bypass conventional narrative, they are consistent elements in the plots of KISS ME, MONSTER, LAS NOCHES DE LOS SEXOS ABIERTOSand other films throughout his career.


                                                                 Carnival Demons


The action proceeds to a series of encounters between the various gold seekers in the hotel room of the couple. Simon has a recorder with which he can summon help by playing several notes as did Al Periera (Eddie Constantine) in Franco's ATTACK OF THE ROBOTS (1966). In fact, miniature robots are also part of the plot here, appearing out of nowhere to give the couple coded directions and warnings before self-exploding. These brightly colored plastic creations seem like something out of a child's fantasy world, part of the fantasy-play matrix in which the characters are embroiled. At the end there is a hint that the entire outlandish, if somewhat silly, plot is something to enjoy before the newlyweds endure the daily realities of normal married life. Whatever it is, Franco is more interested in every tiny detail of the environment rather than any kind of real suspense, intrigue or meaning. The only meaning is Franco's desire to make another film, whether it's finished or released is of secondary importance. In fact, this film wasn't released at all and was discovered by Franco scholar Alex Mendibil in the Filmoteca Espanola.



                                                        Attack of the (toy) Robots

My first thought after seeing this long lost, never released title was that it was like one of those 1960s Walt Disney live action comedies, only conceived and directed in secret code by a mad poet whose only wish was to amuse himself. This is actually as personal, subversive and esoteric as any title in the extensive Franco collection. It's just that's not what it appears to be on its rather glossy (for Jess Franco) surface. One has to leave expectations and perceptions behind to get it, but not to enjoy it. Franco doesn't have any messages for viewers of his films, but he does offer endless, amusing subterfuges, in-jokes, auto-critiques, arcane references and genre satire which one can take or leave. He's a master of artful ridicule of subjects which deserve to be ridiculed, especially criticism in search of profound truths in cinema. This film is structured like the amusement park location, it's there to explore and have fun in. Franco's direction acts as a carnival barker, shouting "Look at the gewgaws, ride the ferris wheel, go into the Funhouse."


After viewing it I thought of my 2004 interview with Jess Franco (published in ART DECADES # 13) in which the director praised surprisingly Walt Disney and the fantasy world he created, stressing that he admired the man as a pioneer in entertainment and the universe created under his name. But he qualified that by saying the multi-million dollar Disney corporation was not something he admired. One recalls the Mickey Mouse mask wearing killer in BLOODY MOON. Disney characters also appear on t-shirts and props in such otherwise grim epics as BARBED WIRE DOLLS, LINDA and EUGENIE, THE STORY OF A PERVERSION (1980). KILLER BARBIES VS. DRACULA is like a horror musical unfolding in Disney style alternate world.The idea here is that our seemingly wholesome young couple have the kind of naivete one associates with Disney product, even if the actor who plays Simon looks to be about 15 years old (he was actually in his mid twenties as was Lina Romay at the time of shooting). Donald Duck or Mickey Mouse don't appear but the live-action cartoon quality is prominent. Franco fans expecting scenes of morbid sex and violence might be pleasantly surprised by this other side of the director's world.


So what exactly is this film which fell off the radar 40 years ago? Like many of Franco's unreleased films it may have encountered quota/tax issues and was withdrawn from the market. The production company/potential distributors might simply have decided it didn't have the commercial potential needed to insure a successful theatrical run. Given that there is no serious violence, only brief nudity and one mild seduction scene it probably would have been rate 14 in Spain (only 14 or over admitted, the next rating up from "Todos los Publicos", everyone admitted). Certain 1970s popular films which had increasing levels of sex and violence were driving international mainstream tastes to demand more of that kind of content, especially in Spain, which by 1980 had largely transitioned away from the stricter censorship of the General Francisco Franco era. Maybe VAYA... was just too genteel for rapidly changing audience tastes. That seems odd since we are talking about a Jess Franco film, after all. What emerges instead is an eccentric romantic comedy-adventure about how the honeymoon educates the newlyweds about each others foibles and the fact that the world around them is place of danger and intrigue which can best be navigated with some apprehension along with a wide open mind.


                                                           The Gold Bug

This was a rare production of the Magna sound studio which created the soundtracks for such Franco films as EL SADICO DE NOTRE DAME, SINFONIA EROTICA, DEVIL HUNTER, among others. Lina Romay is dubbed here by Mari Pe Castro, the wife of the studio''s artistic director. The film was shot on locations in Benidorm, Alicante and Elche, familiar from other Franco productions.


Thanks to Nzoog.for research assistance.

(C) Robert Monell, 2020

21 February, 2020


THE NIGHT OF OPEN SEX/ LA NOCHE DE LOS SEXOS ABIERTOS (1981) Blu-ray REVIEW by Robert Monell

 

"It is clear that Kidd-- if Kidd indeed secreted this treasure, which I doubt not--it is clear that he must have had assistance in the labor. But this labor concluded, he may have thought it expedient to remove all participants in his secret. Perhaps a couple of blows with a mattock were sufficient, while the coadjutors were busy in the pit; perhaps it required a dozen--who shall tell."   Edgar Allan Poe, The Gold Bug



Moira (Lina Romay) is a sexy cabaret stripper by night and a secret agent by day. She is attempting to gain information on the Segunda Guerra Mundial, an international criminal group who are about to locate a hidden consignment of gold bars which was secreted beneath the desert during the last days of the Nazis.

Private detective Al Crosby is also on the trail of the gold and teams up with Moira. Eventually, Prof. Von Klaus provides a complex code which, when deciphered, will reveal the location. Moira is briefly captured by the opposition, tortured, and then freed by Al. They make a concerted effort to break the word puzzle, and finally succeed in locating Von Klaus's desert villa, in which there is a secret room containing the gold.

First though, the right notes have to be played on an organ which will electronically trigger the lock mechanism. It involves musical notation from a Liszt composition. When Moira performs the piece, the door opens and the treasure awaits them. The only problem is that the counter-agents have pursued them by helicopter and plan to relieve Al and Moira of their newly found fortune.



Considering the fact that Jess Franco has returned to Euro-spy genre again and again throughout his career, it would seem the genre holds a special fascination for him, as well as providing the profilic director with narrative action that functions as a necessary backdrop to his trademark erotic scenes, personal touches, visual spirals, and private jokes.

It is impossible to separate the sex from
any generic conventions at this point in Franco's career. His later Euro-spy feature DARK MISSION (1988), offers evidence that he could leave aside the obsessive focus on eroticism and make a relatively straight commercial product, but as this more personal early 80s period and his recent films show Franco is at his best when he is
allowed to be Franco.

LA NOCHE... opens with a deliriously filmed striptease by Lina Romay, performed in the driver's seat of a classic fifties American car. This all takes place in an ultra-glitzy night spot, where the sexy action is bathed in gorgeous neon hues. Lina's gyrations and Franco's camera work and lighting design seem in perfect harmony this time around, and the sequence is hypnotic.

There are many shootings, double crosses, torture sessions (one outrageously borders on a XXX level of sado-erotic intensity), exotic locales, and Lina Romay has never looked sexier. It's all so much fun, Jess Franco style. 

Inspired by Poe's "The Gold Bug" Jess Franco presents a Eurospy tinged mystery build around a secret code. As always, Franco is obsessed with secret codes in popular literature and cinema and developed his own as a filmmaker. The code in the Poe story leads adventurers to a fortune in pirated gold buried on a remote atoll. The code here is part literary, a poem, part musical, Liszt's composition, which when followed or played, open a vault of gold bars. The search for Nazi gold triggers thoughts of the gold guarding zombies in Franco's LA TUMBA DE LOS MUERTOS VIVENTES aka OASIS OF THE ZOMBIES, also filmed in the Canary Islands around the same time. But this is super sexy, light-hearted (with staggering doses of nudity, sex, erotic dancing displays) Eurospy fun all the way. 
This is not a horror film and it's one of the few Golden Films Internacional productions which is not a remake of an earlier Jess Franco film. That said, Severin Films has done another spectacular job delivering a sparkling presentation, scanned in 4K from the origina negative. The colors and definition are breathtaking. It looks delicious and has an intoxicating soundscape. Previously released on Spanish VHS (KING VIDEO), this is the film's official home video debut in North America. New English subtitles are provided for the Spanish Mono track.

Special Features include two hosted by Franco author Stephen Thrower: In the Land of Franco Part 2, a tour of multiple Franco locations; The Night of Open Jess, an interview with Thrower on the film. 

Also included is Part 2 of Donald Farmer's 1993 interview with Franco and Lina Romay during the shooting of JUNGLE OF FEAR. Fascinating stuff. 

Highly Recommended!
(C)
Robert Monell, 2020

20 February, 2020

Orgies Revolutionaires- Jose Benazeraf 1983

https://tubepornclassic.com/videos/28859/orgies-revolutionnaires/


A 1983 hardcore war adventure as Gabriel Pontello and Olinka star as a military dictator who is visited by a sexy advernturess in the midst of an armed revolution. Benazeraf's subversive humor and a sense of visual detail make this worth a look. 

17 February, 2020

CRIES OF PLEASURE/GEMIDOS DE PLACER: Blu-ray Review by Robert Monell

It opens with the mute  houseboy Fenul (DP Juan Soler Cozar, whose feverish thoughts are voiced by the film's director, Jess Franco), playing what at first seems an easy listening afternoon sonata on an acoustic guitar, as the camera zooms back from a pleasure cruiser cutting across Alicante bay. The camera then zooms back further to an elevated view of the bay from the swimming pool patio. It then zooms into Fenul stringing the notes and ultimately down into the aquamarine pool water in which the recently murdered Antonio (Antonio Mayans) floats. Based on a story by the Marquis De Sade the credits over the image tell us. But adapted by Jess Franco for a daring stylistic experiment. Franco's models were obviously Touch of Evil by Orson Wellels and Hitchcock's extended-take murder mystery, Rope.


As usual in the films of Jess Franco sound and music is as important, possibly more so, than the the images he usual to illustrate his chronicles. One must always keep in mind that Franco has said that he considered himself to be a musician who made films. He worked in cinema because it offered more financial security than being a jazz musician. Just consider the fates of the musicians whose names he used to sign his films, short-lived jazz men Dave Tough and Clifford Brown. Franco was also an actor, both in his own and other's films, and his quivering voice here, representing the frenzied thoughts of Fenul, add a constant audio anxiety to the depraved proceedings.


Cut to the important fact here: The new SEVERIN 4K scan of this Jess Franco adaptation of Sade's sex and death game is absolutely stunning. It's like a gorgeous nightmare from which you can't awaken. Be bold. Do not hesitate to order. It's one of Franco's best films and now looks brand new. CRIES OF PLEASURE actually is from a Sade episode filmed at least twice before by the director, as a sequence in Franco's first Sade epic JUSTINE (1969) and in an expanded version as the 1979 SINFONIA EROTICA.

Below: A female predator (Rocio Freixas) moves toward a fateful encounter in Jess Franco's GEMIDOS DE PLACER (1982), "based on the writings by the Marquis de Sade." The impressive villa where the action is set was provided by the film's producer, Golden Films Internacional S.A. founder/CEO, Emilio Larraga. The villa is exotic in design, with a spiraling staircase, but it becomes more oppressive and claustrophobic as the film progresses.


Franco has said there are approximately 20 shots in this film, but I have counted over 30 at various times based on my viewings of the old Caliente Video from Million Dollar Video Corporation (cropped at 1.33:1) Spanish language VHS and this 2006 Spanish DVD. A later Spanish DVD version is part of the CINE EROTICO ESPANOL series- CLASIFICADA "S", licensed from VIDEO MERCURY FILMS S.A., Formato 4:3 [non-anamorphic, and it shows]; Mono; Multizona "0"; DVD5; approx. 83 min. Genero: Erotica; Boutique Multimedia S.l. Grupo Edider 88, S.L. there's even a Madrid ground mail, and this web address www.internacionaldersa88.com

"REMASTERIZADA DIGITALMENTE CALIDAD"

"Una presumible orgia con un desenlace soprendenta" [or, as I said to Jess when we first met: "Lo siento, no hablo Espanol"]

Back copy: [Un liberal matrimonio quieren probar a realizar un trio sexual con una amiga de ambos. Pero en relaidad la utilizan para matarse el uno al otro con argucias y todo tipo de artimanas. El desenlace es sorpendente."]

Anyone who has seen it knows this is a hypnotic film, one of Franco's most personal and experimental works. It unfolds in flashback, narrated by mentally challenged guitar player, Fenul (DP Juan Soler Cozar, dubbed by Jess Franco himself). The extended takes suggest a link to Hitchcock's ROPE, also a story of murderers and their victims. The opening take, zooming slowly back from a yacht in Alicante Bay to pan over the villa, its swimming pool and a floating dead body (cf SUNSET BOULEVARD), is a tour de force.  A tale told by an idiot signifying the corruption of its four main characters, two of whom will die in paroxysms of sexual violence during the course of the film.

As pointed out above this opening immediately recalls the stunning plan sequence which opens Orson Welles' noir masterpiece TOUCH OF EVIL. The constantly probing camera here is as much of a character as the occupants of the villa. Like Hitchcock and Welles, the director wants to make us complicit in the following action, which is a study in casual amorality. The camera is always a voyeur in cinema, but Franco takes this concept to its absolute limit here. With very little dialogue and an overwhelmingly toxic ambiance, offset by Fenul's wandering guitar improvisations, the film becomes a kind of Sadean daydream ending in death, decay and a silent scream recorded from a final God's-eye camera angle.

As the mesmerizing instigator of the increasingly complex erotic games, Rocio Freixas, as the recently discharged mental patient Martina, emanates a powerful ambiguity which immerses the proceedings with a slow burning sense of danger. At any given moment she seems capable of anything and appears to exert a kind of mental control over the participants. She's also in two other impressive Jess Franco films from this period, EL SINIESTRO DR. ORLOFF and BOTAS NEGRAS, LATIGO DE CUERO, both 1982 Golden Films Internacional Productions in need of HD upgrades. In all Franco filmed around a dozen of films in the busy year of 1982 for producer  Larraga, who left him alone to make the film he wanted in the way he wanted. "I had complete freedom," the director told me when I interviewed him in 2005, adding that what he didn't have was large budgets. This film, in particular makes up for the lack of big bucks with the elegant, expansive, abstract, beyond conventional time and space mise-en-scene.

One could write a book on this film alone and Franco author Stephen Thrower is on hand for two Special Features, In the Land of Franco Part 1, a tour through familiar Portuguese locations for such Franco films as A Virgin Among the Living Dead, and Jess Franco's Golden Years, a consideration of the unique Golden Films Internacional features he made during the 1980s. There's also a subtitled interview with Franco and Lina Romay conducted in 1993 by Filmmaker Donald Farmer, during which the couple discuss their relative anonymity in the Spanish film market and such subjects as budgets. Franco even singles out director Martin Campbell as a worthy contemporary film director!

Severin's 4K scan from the original negative reveals layers of light and color which make the dreamlike film even more rapturous. Presented in Spanish with English subtitles, the soundscape is as enveloping as the imagery.

CRIES OF PLEASURE is available on DVD and Blu-ray from Severin Films, who are also releasing another fascinating Franco film produced by Golden Films Internacional, the erotically charged spy thriller NIGHT OF OPEN SEX, which I hope to review here soon.

(C) Robert Monell, 2020.

25 January, 2020

Viaje a Bangkok, ataúd incluido (1985) [Castellano] rare Jess Franco Edgar Wallace film, Spanish with Programable English subtitles.




This films is not an Edgar Wallace adaptation. It is, rather, a remake of Franco's 1966 Eurospy, CARTES BOCCA ARRIBA/CARTES SUR TABLE/ATTACK OF THE ROBOTS, released on Blu-ray in 2019, in French with English subtitles and an English language track option. Commentary track by Tim Lucas. It begins as a scene by scene remake of the earlier film, but changes the story to bring in a mind-control cult which uses drugs and rituals instead of a technological system to turn victims into robot-assassins. There's a lot less action in this film, which is in color. The black and white 1966 film somewhat suffers because the skin of the robots does not change color when shut down.


15 January, 2020

CRIES OF PLEASURE/GEMIDOS DE PLACER (Jess Franco, 1982)

Severin Films has announced a new Blu-ray release of this unique Jess Franco erotic drama. One of his key films produced by Emilio Larraga's Golden Films Internacional S.A. company in the early 1980s. The Blu-ray will be a new 4K scan from the original negative.


These are some thoughts on the film after viewing the Spanish DVD release from Cine Erotico Espanol. The film's release is dated as 1982 on the box. It's 4:3 format, Mono. 83m, Spanish language only. No subtitles available. This is an updated post from 2016.

GEMIDOS DE PLACER: [Spanish DVD] and other releases.



A female predator (Rocio Freixas) moves toward a fateful encounter in Jess Franco's GEMIDOS DE PLACER (1982), a remake of PLAISIR A TROIS (1973), "based on the writings by the Marquis de Sade." The impressive villa where the action is set was owned by the film's producer, Golden Films Internacional S.A. founder/CEO, Emilio Larraga. The villa is exotic in design, with a spiraling staircase, but it becomes more oppressive and claustrophobic as the film progresses.

Franco has said there are approximately 20 shots in this film, but I have counted over 30 at various times based on my viewings of the old Caliente Video from Million Dollar Video Corporation (cropped at 1.33:1) Spanish language VHS and this 2006 Spanish DVD. This DVD version is part of the CINE EROTICO ESPANOL series- CLASIFICADA "S", licensed from VIDEO MERCURY FILMS S.A., Formato 4:3 [non-anamorphic, and it shows]; Mono; Multizona "0"; DVD5; aprox. 83 min. Genero: Erotica; Boutique Multimedia S.l. Grupo Edider 88, S.L. there's even a Madrid ground mail, and this web address www.internacionaldersa88.com

"REMASTERIZADA DIGITALMENTE CALIDAD"

"Una presumible orgia con un desenlace soprendenta" [or, as I said to Jess when we first met: "Lo siento, no hablo Espanol"]

Back copy: [Un liberal matrimonio quieren probar a realizar un trio sexual con una amiga de ambos. Pero en relaidad la utilizan para matarse el uno al otro con argucias y todo tipo de artimanas. El desenlace es sorpendente."]

Anyone who has seen it knows it's a hypnotic film, one of Franco's most personal and experimental works. It unfolds in flashback, narrated by mentally challenged guitar player, Fenul (DP Juan Soler Cozar, dubbed by Jess Franco himself]. The extended takes suggest a link to Hitchcock's ROPE, also a story of murderers and their victim. The opening take, zooming slowly back from a yacht in Alicante Bay to pan over the villa, its swimming pool and a floating dead body (cf SUNSET BOULEVARD), is a tour de force.  A tale told by an idiot signifying the corruption of its four main characters, two of whom will die in paroxysms of sexual violence during the course of the film.

This opening immediately recalls the stunning plan sequence which opens Orson Welles' noir masterpiece TOUCH OF EVIL. The constantly probing camera here is as much of a character as the occupants of the villa. Like Hitchcock and Welles, the director wants to make us complicit in the following action, which is a study in casual amorality. The camera is always a voyeur in cinema, but Franco takes this concept to its absolute limit here. With very little dialogue and an overwhelmingly toxic ambiance, offset by Fenull's wandering guitar improvisations, the film becomes a kind of Sadean daydream ending in death, decay and a silent scream recorded from a final God's-eye camera angle.

As the mesmerizing instigator of the increasingly complex erotic games, Rocio Freixas emanates an powerful ambiguity which immerses the proceedings with a slow burning sense of danger. At any given moment she seems capable of anything and appears to exert a kind of mental control over the participants. She's also in two other impressive Jess Franco films from this period, EL SINIESTRO DR. ORLOFF and BOTAS NEGRAS, LATIGO DE CUERO, both 1982 Golden Films Internacional Productions in need of HD upgrades.

Once again, eagerly awaiting the upcoming Severin Blu-ray, scanned in 4K.

(C)Robert Monell, 2019

09 January, 2020

Collected Jess Franco Film Reviews from Dark Waters: links included.

THE NIGHT OF OPEN SEX/ LA NOCHE DE LOS SEXOS ABIERTOS (1981) by Robert Monell

Moira (Lina Romay) is a sexy cabaret stripper by night and a secret agent by day. She is attempting to gain information on the Segunda Guerra Mundial, an international criminal group who are about to locate a hidden consignment of gold bars which was secreted beneath the desert during the last days of the Nazis.

Private detective Al Crosby is also on the trail of the gold and teams up with Moira. Eventually, Prof. Von Klaus provides a complex code which, when deciphered, will reveal the location. Moira is briefly captured by the opposition, tortured, and then freed by Al. They make a concerted effort to break the word puzzle, and finally succeed in locating Von Klaus's desert villa, in which there is a secret room containing the gold.

First though, the right notes have to be played on an organ which will electonically trigger the lock mechanism. It involves musical notation from a Liszt composition. When Moira performs the piece, the door opens and the treasure awaits them. The only problem is that the counteragents have pursued them by helicopter and plan to relieve Al and Moira of their newly found fortune.

Considering the fact that Jess Franco has returned to Euro-spy genre again and again throughout his career, it would seem the genre holds a special fascination for him, as well as providing the profilic director with narrative action that functions as a necessary backdrop to his trademark erotic scenes, personal touches, visual spirals, and private jokes.

It is impossible to separate the sex from
any generic conventions at this point in Franco's career. His later Euro-spy feature DARK MISSION (1988), offers evidence that he could leave aside the obsessive focus on eroticism and make a relatively straight commercial product, but as this more personal early 80s period and his recent films show Franco is at his best when he is
allowed to be Franco.

LA NOCHE... opens with a deliriously filmed strip by Lina Romay, performed in the driver's seat of a classic fifties American car. This all takes place in an ultra-glitzy night spot, where the sexy action is bathed in gorgeous neon hues. Lina's gyrations and Franco's camera work and lighting design seem in perfect harmony this time around, and the sequence is hypnotic.

There are many shootings, double crosses, torture sessions (one outrageously borders on a XXX level of sado-erotic intensity), exotic locales, and Lina Romay has never looked sexier.

Robert Monell