return of the bloodsucking nazi zombies episode 3 - THE SINISTER DR. ORLOFF

Review: LES GRANDES EMMERDEUSES (1974: Cinema, Degree Zero) Updated Archived Review

 [This is an updated review originally published in the MOBIUS HOME VIDEO FORUM: EUROPEAN CULT CINEMA in Nov. 1999. Thanks to John Charles]




This 1974 spy-comedy-horror item is a perfect example of Cinema, Degree Zero as illustrated in the cinema of Jess Franco. The polar opposite of 'slick" genre cinema, it has no stylistic polish and registers as a no-budget riff on Franco's "Red Lips" series, although this is not an official entry. On the surface, this is a delightfully sleazy Jess Franco nudie comedy romp, and I use the word "romp" with no irony intended. Jess directed under his "Clifford Brown" pseudo, and he probably forgot about it the day after shooting was completed. It all looks like it was shot in two and a half days in Super 8MM at some hotel in France where the film crew was probably hiding out from the cops. Lina Romay and Pamela Stanford (Lorna, the Exorcist herself!) jiggle their merry ways through this sleek put-on concerning two almost always naked diamond smugglers (guess where they hide the diamonds) who travel to Istanbul where they hope to fence the jewels. Hot on the trail are a pair of bumbling Interpol agents (Franco regulars Bigotini [rn Rick Deconninck]and Ramon Ardid) under the supervision of the director himself in a cameo that was probably dictated by lack of a casting budget. The women manage to elude their pursuers but run into the massive Radeck (amusingly incarnated by the spherical Victor Mendes) a sort of gangster-mad scientist who has developed a hairy monstrosity to whom our heroines will be fed if they don't deliver. 

It's all wild and crazy fun, part slapstick comedy, part porn, part Z grade Eurocrime, part horror parody, filmed with little or no budget, with plenty of those trademark zooms and without even the bare basics of a camera tripod or lights. The exteriors are mostly shot from a moving car and one can imagine the director hanging out the window with his hand held camera, zooming in and out of every object which caught his attention- a tree here, a bridge there, and so forth. All this will probably drive those insisting on the "well made film" up the proverbial wall, but I loved every minute of it. 


 Pamela Stanford [rn Monique Delaunay] in cat disguise...


 Lina and Pamela seem a lot more comfortable nude than most actresses do fully clothed, having a ball running around like hopped-up sprites, playing sexy tricks on the villains and donning bizarre disguises (Stanford has an outrageous wrap-around cat mask which she puts on before going into action). Franco provides a circular, interactive structure by beginning and ending with the ladies assuming sexy poses, teasing the viewer by looking directly into the camera and telling us of how their latest adventure went down. I was particularly amused by a scene of the elephantine Radeck attempting a melancholy tune at the piano in his castle.* This is a typically obscure in-joke which only those thoroughly immersed in Franco's alternate universe will catch on to. Others will stare in wordless amazement that this bleary trifle has even survived. I just kick back and enjoy it.

But looking beneath that seemingly lightweight comedy surface another example of Cinema, Degree Zero appears. Quickly, recklessly filmed it nonetheless has its unique artistic rigor embedded in i's frenetic mise en scene. One can hope for a 2 or 4K HD release to reveal genius at created something personal, observation and layered out of next to nothing. A few updated comments on this 1999 review:

Seeing this nearly a decade later made me appreciate Franco's sheer creativity in the face of dire poverty all the more. It looks like this was shot in Super 8mm, or maybe just regular old 8mm! I highly doubt there was a script and most of it takes place in cheap looking hotel rooms (hmmm... where I have seen those rooms before?).

There's even a "monster" who shows up in this. The "thing" is created by yet another evil "Radeck" who uses it to threaten our heroines. It's really just a very ugly guy (I hesitate to use the word "actor").

Jess Franco (who may or may not be playing Dr. Radeck [hey, it's in French and there's a lot of talk and utter confusion throughout!] looks really spaced out or hyped up on something, pacing around yet another sleazy hotel room somewhere in the South of France.

Willy Braque (Guy Peraud), a familiar face from a number of Jean Rollin films (DEMONIACS; LIPS OF BLOOD), is even stranger looking than Jess Franco! This guy looks like he hasn't had a decent meal in his life. In other words, he's perfectly credible as the "connection" Kashfi.

Jess Franco's "Istanbul/Turkey" is a hotel room in France.

Above: Pamela Stanford in LES GRANDES EMMERDEUSES (from poor quality video)

Lina Romay and Pamela Standford seem a lot more comfortable nude than most actresses do fully clothed, having a ball running around like hopped-up sprites, playing sexy tricks on the villains and donning bizarre disguises (Stanford has an outrageous wrap-around cat mask which she puts on before going into action). Franco provides a circular, interactive structure by beginning and ending with the ladies assuming sexy poses, teasing the viewer by looking directly into the camera and telling us of how their latest adventure went down. I was particularly amused by a scene of the elephantine Radeck (Victor Mendes) attempting a melancholy tune at the piano in his castle.* This is a typically obscure in-joke which only those thoroughly immersed in Franco's alternate universe will catch on to. Others will stare in wordless amazement that this bleary trifle has even survived. I just kick back and enjoy

*This piece will be familiar to Jess Franco archaeologists. It's also heard under the credits of LE MIROIR OBSCENE and in LES GLOUTONNES (both 1973) and other Jess Franco related titles.

Don't expect to see this on R1 DVD or Blu-rayanytime soon [But you never know...]

And over 20 years on I still can't get over Pamela Stanford's cat mask....

(c) Robert Monell 1999-2018   
*This piece will be familiar to Jess Franco archaeologists. It's also heard under the credits of LE MIROIR OBSCENE and in LES GLOUTONNES (both 1973) and other Jess Franco related titles.

(C) Robert Monell, 2014

WHITE SKIN, BLACK THIGHS: rare Jess Franco film available..

http://www.diabolikdvd.com/category/Euro-Trash/White-Skin-Black-Thighs-%28Goya-Collection-%5Bsl%5D-Weisse-Haut-Auf-Schwarzen-Schenkeln%29-%28Blu~Ray-All-Region%29.html

Sexy Sisters DVD (Goya Collection) (PAL All Region) Mondo Erotico DVD (Jess Franco Goya Collection / In 80 Betten um die Welt (PAL All Region) White Skin Black Thighs (Goya Collection / Weisse Haut Auf Schwarzen Schenkeln) (Blu-Ray All Region) - See more at: http://www.diabolikdvd.com/category/Exploitation/White-Skin-Black-Thighs-DVD-(Goya-Collection-%5Bsl%5D-Weisse-Haut-Auf-Schwarzen-Schenkeln)-(PAL-All-Region).html#sthash.N0pqZE1E.dpuf

Sexy Sisters DVD (Goya Collection) (PAL All Region) Mondo Erotico DVD (Jess Franco Goya Collection / In 80 Betten um die Welt (PAL All Region) White Skin Black Thighs (Goya Collection / Weisse Haut Auf Schwarzen Schenkeln) (Blu-Ray All Region) - See more at: http://www.diabolikdvd.com/category/Exploitation/White-Skin-Black-Thighs-DVD-(Goya-Collection-%5Bsl%5D-Weisse-Haut-Auf-Schwarzen-Schenkeln)-(PAL-All-Region).html#sthash.N0pqZE1E.dpuf

White Skin Black Thighs DVD (Goya Collection / Weisse Haut Auf Schwarzen Schenkeln) (PAL All Region)

Rare Jess Franco film starring Kali Hansa that was originally attributed to Erwin Dietrich PAL All Region English Subtitles

- See more at: http://www.diabolikdvd.com/category/Exploitation/White-Skin-Black-Thighs-DVD-(Goya-Collection-%5Bsl%5D-Weisse-Haut-Auf-Schwarzen-Schenkeln)-(PAL-All-Region).html#sthash.sGQYksXU.dpuf

White Skin Black Thighs DVD (Goya Collection / Weisse Haut Auf Schwarzen Schenkeln) (PAL All Region)

Rare Jess Franco film starring Kali Hansa that was originally attributed to Erwin Dietrich PAL All Region English Subtitles

- See more at: http://www.diabolikdvd.com/category/Exploitation/White-Skin-Black-Thighs-DVD-(Goya-Collection-%5Bsl%5D-Weisse-Haut-Auf-Schwarzen-Schenkeln)-(PAL-All-Region).html#sthash.sGQYksXU.dpuf

Jess Franco's MACISTE films on DVD/Blu-ray

I would like to see both of Jess Franco's crazy 1973 no-budget MACISTE films, made back-to-back that year with the same main casts and locations, get HD releases. Has there been any other DVD releases since the 2013 Italian one of MACISTE VS. THE QUEEN OF THE AMAZONS? Blu-ray editions would be preferred or any High Quality DVD releases. The caps I've seen of this one look dodgy, as if mastered from an inferior, but watchable, VHS source.

Spaghetti Western icon Robert Woods played the evil knight Caronte in  LES EXPLOITS EROTIQUES DE MACISTE DANS L'ATLANTIDE aka Les Gloutonnes (1973) and Maciste's sidekick in MACISTE CONTRE LA REINE DES AMAZONES [seen in the caps below].


I find both of these fun, lightweight efforts with the amusing presences of Wal Davis [rn Waldemar Wohlfaart], Lina Romay, Alice Arno, and the always welcome participation of  Robert Woods, along with the entrancing Montserrat Prous, who also participates in Les Exploits Erotiques de Maciste dans L'Atlantide, a delirious composite and my favorite of the two. That one also has the equally essential presence of Pamela Stanford aka Monique Delaunay. Howard Vernon appears in other inserted scenes as "Cagliostro". Both were shot on locations in Portugal and Spain according to OBSESSION: THE FILMS OF JESS FRANCO.

Maciste contre la Reine des Amazones - trailer - YouTube

► 1:20► 1:20

www.youtube.com/watch?v...

YouTube

Sep 27, 2011 - Uploaded by Franconery01

Maciste contre la Reine des Amazones - trailer ... du chef d'oeuvre de Clifford Brown, alias Jess Frank, alias ...

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Here are a few caps posted last year in THE FRANCO LOUNGE on THE LATARNIA FORUMS...

L'IMMORTELLE (Alain Robbe-Grillet, 1983) Kino Lorber Blu-ray

This film has numerous similarities to Jess Franco's VENUS IN FURS: the same main location (Istanbul), similar characters and plot (a confused man pursues a dead woman) and conclusion. The differences are that Franco's film is in color, infused with Jazz and that Robbe-Grillet's film has absolutely no exploitation elements (nudity, violence) and is his only film which doesn't contain sadomasochistic elements.

The minimalist vs the psychedelic treatment of similar themes, characters, plots and locales...

 
Hell hound or Messenger of Death....


Francoise Brion and Jacques Doniol-Valcroze meet in Istanbul's cemetery of the living dead in Alain Robbe-Grillet's L'IMMORTELLE.

N (Jacques Doniol-Valcroze) a French University lecturer, arrives to fulfill his appointment in Istanbul but is both confused and fascinated by the exotic environment and mythology of the Turkish city. He meets the beautiful, remote L (Francoise Brion), seemingly by chance, and a mysterious man, M,  with two imposing hounds who seems to hover over her actions. He invites her to a reception at his apartment, and later they embark on several visits to such local attractions as the Grand Mosque and bazaar. Then L disappears from his life as suddenly as she appeared. Searching for her in the ancient city N becomes obsessed with her image and elusive presence. Finally locating her in the crowded streets one night they attempt to drive out of the city only to become involved in a fatal accident when one of M's dogs suddenly appears in the center of the road. L is pronounced dead. But is she? N embarks on another desultory search and final appointment in his personal Samarra.


This aforementioned similarities to Jess Franco's VENUS IN FURS: are probably not accidental. Robbe-Grillet is mentioned in word association game in NECROMONICON (1967), albeit in the German language, not the English language dubbing and Franco seems as totally immersed in the closed universe of S&M as ARG, both are European mavericks whom critics and audiences tend to love or hate with equal passion. 

Beside being chaste in terms of sex and violence, but not eroticism or anxiety, there's absolutely no "acting" or attempt at realistic movements or any movement at all by the actors in L'IMMORTELLE, they're mostly frozen in space, obviously at the insistence of the director. Totally alienating at each and every moment.With no zoom shots, conventional plot continuity, emotive acting, executed with rigid camera movements, a disjunctive editing style, avoidance of pretty compositions, but not picture postcard views of the city, which Robbe-Grillet favored over documentary realism. "Pierre Loti meets A THOUSAND AND ONE NIGHTS." Nonetheless, the film does nothing to dress up the crumbling exteriors such as the ancients ramparts which surround the city and are seen in the opening and closing shots taken from a car on the highway. Automobiles, accidents, lights, mirrors, secret agent style suits and sunglasses play a large part in the ambiance of a film shot in the same year and location as Terence Young's 1963 Bond FROM RUSSIA WITH LOVE. But L'IMMORTELLE is the anti-Bond Eurospy film, the anti-Hollywood Love Story, a love story without love, the anti-Art Art film.

All of this insured the film's financial and critical failure, along with the writer-director's inexperience in such basic matters as communication with crew and actors, following continuity within and between scenes, allowing for improvisation and creative "accidents", all exacerbated by a restive crew and an actual revolution which occurred in Turkey while the film was shooting, putting this government sanctioned production in a distinctly uncomfortable position. All of this and more is outlined in humorous fashion by the late writer-director in a 32 m interview which, in this case, is probably best watched Before the feature presentation.

Given the technical/artistic flaws of this first film of a literary star, the Kino Classics HD transfer from original 35mm elements is as gorgeous as one can expect from a film made with blocked funds, during a revolution, with an increasingly uncooperative crew and clueless actors. It's also the anti-LAST YEAR AT MARIENBAD from the author of that classic film. Same story, plot but totally different tone and style Robbe-Grillet was no Alain Resnais and seems less interested in "style" than in playing with structure while observing surfaces. This is a film completely obsessed with the surfaces of things, people, locations. There is no psychology, back story or message. What you see is what you get. Or maybe don't get. But that's OK. This is a film by the King of the Nouveau Roman. Imagine a Bond film by Robert Bresson or Carl Dreyer and you have a handle on it. Maddening, circular, obtuse and haunting, it's unlike any other film of Robbe-Grillet and any other film by anyone. The Georges Delerue score is laced with a particularly enchanting traditional Turkish song which provides a perfect audio environment for this exotic cocktail.

A 2014 promo short and trailers for three other Kino Classic Robbe-Grillet Blu-ray presentations are included.

France-Turkey/1963-101m/B&W/1/66:1-1920X1080p/
Written and Directed by Alain Robbe-Grillet
Photography by Maurice Barry
Music by Georges Delerue

(C) Robert Monell, 2013

BLOODY MOON Blu-ray is now available!

Today is the official street date for this new Blu-ray upgrade of this notorious Jess Franco gore epic and it's highly recommended. You can almost see the mountains on the moon which the director's compulsive zoom lens often closes in on.

Jess Franco's 1981 contribution to the slasher genre was a German financed production, lensed in Alicante, Spain. It looks better than ever on this new Blu-ray edition from Severin Films. A stunning BD presentation which reinvents Jess Franco's Spanish lensed slasher epic as a series of candy colored gore tableaux; the detail, definition, sharpness and color are just dazzling. The clarity of each and every image is razor sharp and the luminosity it a 100% improvement over the previous DVD presentation.

International Boarding School of Languages, Alicante: During a dance at the language school for young women the facially deformed Miguel (Alexander Waechter) steals a Mickey Mouse mask and stalks an attractive student, brutally stabbing her to death in bungalow #13 to stop her horrified screams when she discovers his grotesque features. Several years later Dr. Domingo Aunous (another cameo by Uncle Jess) releases Miguel from psychiatric confinement into the care of his sister Manuela (Nadja Gerganhoff), the lover of Alvaro, the language school's director who is trying to cover up his financial mismanagement. The couple are mistrusted by the elderly Countess, who controls the family fortune and intends to disinherit niece Manuela, leaving Miguel set to inherit the Countess' considerable estate.

But Miguel will become a key suspect when several of the new batch of female students are found murdered in cursed bungalow #13. Is this all a plot by Manuela and Alvaro to set up Miguel? You bet. In the meantime the frantic imagination of the recently arrived Angela (Olivia Pascal), looking more like a runway model than a student, becomes overstimulated as the killer begins to leave body parts in her room like ritual offerings.

The Jess Franco circular saw massacre....

 
The original German title card...

The 1080 Full HD resolution presentation of this German LISA-RAPID-METRO Film Production emphasizes more than any previous release Jess Franco's ability to make a slick, seamless mainstream thriller very much in the style of  John Carpenter's HALLOWEEN and the thrillers of Brian De Palma, and both directors are directly quoted in Franco's crafty, often delirious mise-en-scene. The opening murder, presented through the eyes of the killer's "party" mask, in this case Mickey Mouse, is the most obvious example. The glossy, red, white and blue color design is more prominent than ever now, perhaps an indication that the director was going "the American way" while recalling the American flag color scheme of De Palma's 1981 BLOW OUT. Images from the notorious head severing by circular saw sequence can also be seen in Amoldovar's MATADOR.

Special features include the documentary interview Franco Moon (18m 51s), directed by David Gregory and the original theatrical trailer (1m 39s), the latter featuring some alternate English language dubbing. Franco obviously was displeased with many aspects of this project, on which he worked as a gun for hire on a script concocted by the producer, Erich Tomek.He also discusses his displeasure with the Gerhard Heinz disco-dancing score, remembering he wanted to use the music of Pink Floyd. It's a revealing interview in that it shows how he was able to operate both as a hack and a [frustrated] auteur. Notice the very last image, the clasped hands of the incestuous siblings, which the title Directed by Jess Franco is printed over. A final indication that the director's intended focus is on the twisted love story which lies underneath the generic slasher elements 


Miguel, on the other side of the mirror, a recurring image in the films of Jess Franco.

Overall this is an impressive upgrade for this uncharacteristic entry in the Jess Franco canon. This is a clean, luminous, crystal clear transfer from elements which do not evidence any noticeable wear and tear. A few seconds of blood spattered gore have been included from inferior elements, in snippets often missing from other video versions. This version is complete. BLOODY MOON was a video nasty and banned in the UK.


81m/Color/1981
1.78:1 

The Return of Dr. Mabuse

Jess Franco's 1973 Dr. Mabuse thriller, LA VENGANZA DEL DR. MABUSE will be released in Germany on DVD this summer. Unfortunately, it doesn't appear to be English friendly. But it will be nice to have a HQ DVD of it, one of the director's oddest and most esoteric titles. It's interesting to note that this pretty much killed off the German produced Mabuse series, initiated by Fritz Lang with DR. MABUSE DER SPIELER (1922) and reignited by Fritz Lang's DIE TAUSEND AUGEN DER DR. MABUSE (1960). Franco employs plot elements from his GRITOS EN LA NOCHE (1961), updating the story, filming in color and setting it in a science fiction environment. An amusing, comic book style adventure featuring all the nudity and scenes cut from the Spanish release.

Für eine größere Ansicht klicken Sie auf das Bild

Dr. M schlägt zu - Kultige Mabuse-Verfilmung (Pidax Film-Klassiker)

Jack Taylor (Darsteller), Siegfried Lowitz (Darsteller), Jess Franco (Regisseur) | Alterseinstufung: Freigegeben ab 16 Jahren | Format: DVD

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Gerhard Heinz composer for Jess Franco's BLOODY MOON; LINDA- The Definitive Collection Digital Boxed Set (AVAILABLE N...

CLAIRE (1979) A Clifford Brown [Jess Franco] film?

Actually, this composite was put together by none other than the Italian Jess Franco, Aristide Massaccesi aka Joe D'Amato. Franco's 1978 Robert De Nesle funded hardcore ELLES FONT TOUT, which featured Lina Romay as a porno actress vacationing at an exclusive sex spa, was merged with footage shot by D'Amato featuring his own hardcore favorite, Mark [PORNO HOLOCAUST] Shanon (aka Manlio Certosino). The pamphlet AKA Joe D'Amato (Italy, 1995) cites footage with B. Lahaie, but I couldn't make her out in the print which I referenced.

ELLES FONT TOUT is not a favorite of mine and I find the 80s remake HOTEL DE LAS LUIGES a bit easier to take, but it is preferable to this incoherent assembly, which is nonetheless a curio for fans of both European Trash Cinema titans.

Note that even though she is prominently credited, Franco icon Pamela Stanford [aka Monique Delaunay] is not present in this print version. 

CLAIRE [74m 30s]
Big Thanks to David Zuzelo for helping me see this <br>

Robert Monell

CLAIRE (Clifford Brown, 1979) thanks to David Zuzelo

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Robert Monell

11 May at 22:59

CLAIRE (1979, Clifford Brown)

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Robert Monell

11 May at 22:58

CLAIRE

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Robert Monell

11 May at 22:58

Regie Cliffor Brown

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Franco In Oz – An overview of Jess Franco movies released theatrically and on VHS in Australia

By Michelle Alexander

   

*A guide to Australian classification ratings has been provided at the end of this article.

  
Back in the 1970’s and 1980’s when drive-ins, cinemas of a more ‘disreputable’ nature, and revolutionary video stores dotted the Australian landscape, it was not uncommon for willing (and unwilling) audiences to encounter a film by the one and only Jess Franco. Yes, Tio Jess’s movies made their way to the land Down Under, but typical of the conservative and unpredictable nature of the Australian censorship board, they would certainly not be welcomed with open arms. Some titles were heavily censored or outright banned, whilst others were surprisingly released uncut, considering their content (such as Linda, which features the then 14-year old Katja Bienert in several nude and sexual scenes). It’s surreal trying to imagine what the clientele of the local drive-in in Sunshine (a working-class, industrial suburb of Melbourne where I grew up) would have made of Barbed Wire Dolls which played there in a heavily cut version under the title Caged Women in 1981. The films of Jess Franco are an intriguing inclusion of Australia’s moviegoing history, advertised with often wonderfully lurid poster, newspaper and video cover art. During my research, I’ve attempted to list every Franco film which either screened theatrically or received a video release in Australia, along with running time, censorship information, and daybill/cover art.

Barbed Wire Dolls/Caged Women

In September 1976, an 82 minute print of Caged Women was banned for reasons of 'indecency’ and ‘excessive violence'. Despite an appeal to the Review Board in October 1976, the ban remained firmly in place. No doubt the Australian censors were unimpressed with the explicit scenes of female masturbation, sexualised violence and incest and rape themes (not to mention a lit cigarette used as a sex toy).

In November 1977, Blake Films were awarded an R-rating after whittling Caged Women down to 73 minutes. This print was released theatrically. Note the overzealous censor who took offense to Lina Romay’s and Martine Stedil’s bare breasts in the daybill poster, painting (clumsily rendered) white ‘bras’ over them!

Bloody Moon

Released on video (Video Classics, 82 minutes) with an R-rating in 1982. Believed to be uncut.

Cannibals

Released on video (Day Connection, 87 minutes) with an R-rating in 1985. Believed to be uncut.

The Sexcapades of Celestine

According to the Australian Classification database, an 103 minute (?!) print of The Sexcapades of Celestine, submitted by Jim Wilson Cinema was awarded an R-rating in March 1975. It was later released on video (K & C Video) in 1982, also rated R – I am unsure whether this tape is uncut.

Diary of a Nymphomaniac/Diary of a Nympho

A 91 minute print submitted by Seven Keys Films was awarded an R-rating in August 1974 and released theatrically.

Dracula Prisoner of Frankenstein

An 84 minute print submitted by Filmways was granted a now defunct ‘NRC’ (Not Recommended for Children) rating in 1974 and released theatrically; today this would be the equivalent of an M rating.

The Erotic Experiences of Frankenstein

A 73 minute print submitted by Natan Scheinwald Productions was censored by just over 1 minute to remove ‘excessive violence’. Judging by this print’s running time, it appears that it was the ‘unclothed/hot’ version of the film. It is most probable that the Australian censors objected to a scene where a man and woman are tied back to back naked and both whipped by Frankenstein’s monster. The man eventually collapses and is impaled on spikes.

Esmeralda Bay

Released on video (Video Box Office, 106 minutes ) with an M-rating in 1991. Believed to be uncut.

Eugenie... the Story of her Journey into Perversion

An 88 minute print submitted by Seven Keys Films was awarded an R-rating in April 1978 and released theatrically.

 

Exorcism

In October 1975, Global Film Distributors submitted a 95 minute print of Exorcism to the Board, however it was banned for ‘indecency’ and ‘excessive violence’.

In February 1976, it was censored down to 91 minutes and awarded an R-rating. This version was released theatrically in Australia. The scenes most likely omitted or toned down for this release would have been those featuring sexualised/sadomasochistic violence towards a number of nude women, as well as the endless Black Mass orgy sequence.is

Faceless

Released on video (Virgin Vision, 95 minutes) with an R-rating in 1989. Believed to be uncut.  The video cover has ‘Banned in Queensland’ emblazoned on it, however this was most likely not banned there and just used as a sales tactic.

Female Vampire

In March 1980, Cosmopolitan Motion Pictures received an R-rating for a censored 80 minute print under the title The Bare Breasted Countess. To achieve this 2 minutes were removed for reasons of 'indecency’ and ‘excessive violence'.

Syme Home Video attempted to have a 90 minute tape released but this was banned. In September 1985, Platinum Video received an X-rating for an 88 minute tape. However it appears that this tape was never released for sale/hire.

Siren Entertainment were hoping to see a 98 minute tape of Female Vampire released, but unsurprisingly, with its combination of semi-hardcore sex and sexualised violence, was again refused classification. The sequence where Lina Romay’s character is whipped by a woman under instruction from a dominatrix caused the most objection from the censors. The dominatrix is then attacked by the two women and Romay performs oral sex on her, leading to her death. Excerpt from the OFLC upon viewing the film for classification in 1995: “This scene could be accommodated in an R classification, in the Board's opinion, but because it is included in a film that contains X rated visuals and 'no depiction of sexual violence, coercion or non-consent of any kind is permitted in this classification', the scene actually warrants Refuse classification.”

Ilsa, The Wicked Warden/Greta, The Mad Butcher

In October 1977, Blake Films had a 90 minute print of Greta, The Mad Butcher banned for reasons of 'indecency’ and ‘indecent violence'.

No doubt the censors would have heard of its more well-known alternative title Ilsa, The Wicked Warden and immediately frowned upon Greta, as the connected-by-star-only film Ilsa – She Wolf of the SS had already been point blank refused classification in 1975 and 1976 (and later in 1983). The smorgasbord of sleaze also wouldn’t have helped matters, notably the infamous “lick my culo” scene; Dyanne Thorne sticking pins into Lina Romay’s chest to create a ‘human pin cushion’; and the sadistic murder via plastic bag over head.

Jack the Ripper

In November 1977, 2 minutes was cut from a 91 minute print of Jack the Ripper submitted by Blake Films to achieve an R-rating. This 89 minute version was released theatrically.

In July 2004, Big Sky Video submitted an uncut DVD of Jack the Ripper to the OFLC. After not viewing the film since 1977, the OFLC decided to release the disc uncut with an R rating (for ‘high level violence’ and ‘sexual violence’.

Kiss Me Monster

Released on video (Siren Entertainment, 76 minutes) with an M-rating in 1995. Believed to be uncut.

Linda

Filmways omitted 2 seconds of medium level sex from Linda in order to obtain an R-rating in June 1982. An 85 minute theatrical release followed.

Subsequently, Filmways Home Video issued Linda on videotape in a print that ran 81 minutes. This was released in February 1984 with an R-rating. According to the now closed Mondo Erotico website, this was the longest print available worldwide on tape. However, Robert Monell has confirmed that both the Spanish and U.S. VHS releases (the latter titled Captive Women) are both uncut.

It is worth noting that the Board appeared to have been unaware that one of Linda’s leading actresses, Katja Bienert, was 14 years old at the time of filming and appears in a few full-frontal nude as well as sexual scenes. Usually in these circumstances, the film would be outright banned due to a minor being involved in such scenes.

Love Camp

After removing over 2 minutes of footage (due to ‘frequent, high and gratuitous violence’), Filmways had a 78 minute print of Love Camp passed with an R-rating in June 1981. A 70 minute, further censored version was later released by Filmways Home Video.

In October 1986, during the height of ‘Banned in Queensland’ mania, the Queensland Police successfully applied to have a 71 minute tape of Love Camp banned on the grounds of 'gratuitous sexual violence'.

Love Letters of a Portuguese Nun

In June 1980, an 88 minute print of Love Letters of a Portuguese Nun, submitted under the German title of Die Liebesbriefe Einer Protugieschen Nonne, was banned by the Censorship Board due to ‘sexual violence’ (this would refer to the numerous tortures and rapes lead actress Susan Hemingway’s character endures).

Blake Films cut the print down to 85 minutes and re-submitted it. Following the removal of a further 25 seconds of footage, the film was awarded an R-rating in September 1980 and released theatrically.

As with the Australian releases of Linda and that film’s underage star, Katja Bienert, the Board seemed to be unaware that Susan Hemingway was a 15-year-old minor (normally circumstances which would result in an immediate ban).

99 Women

Released on video (K & C Video, 80 minutes) with an R-rating in the early 1980’s. Some nudity and sex has been cut. Interestingly, this tape contains a brief establishing shot at the 42 minute mark that was not on the U.S. tape.

In 2007, Umbrella Entertainment released 99 Women on DVD with an MA rating for ‘strong sexual violence’, ‘strong sex scenes and sexual references’ and ‘nudity’.

Sadisterotica

Released on video (Siren Entertainment, 76 minutes) with an M-rating in 1995. Believed to be uncut.

Succubus

An 80 minute print submitted by Studio Films was awarded an R-rating in January 1973 and released theatrically.

It was released on video (IFM, 77 minutes) with an R-rating.

Swedish Nympho Slaves

According to the Australian Classification database , an apparently 86 minute print submitted by Filmways was awarded an R-rating in April 1981 and released theatrically.

Tender and Perverse Emanuelle

In September 1981, Tender and Perverse Emanuelle was passed with an R-rating and released theatrically by Filmways. In order to win the censors’ approval, almost 2 minutes of footage had to be removed.

The cuts were made to remove sex, which was described as being ‘infrequent, highly explicit and gratuitous’. Following the censorship, the sex was described as being ‘infrequent, medium-level explicit and gratuitous’. It’s pretty easy to guess what the main offending scene would have been – the title character masturbating a man’s erect penis.

Venus in Furs

An 86 minute print was banned in July 1970 due to ‘indecency’.

In 2005, Umbrella Entertainment released Venus in Furs uncut on DVD which was rated R for ‘adult themes’.

 

Virgin Among the Living Dead

In April 1995, the OFLC banned a 77 minute videotape of Virgin Among the Living Dead submitted by Siren Entertainment. An excerpt from the OFLC upon viewing the film for classification in 1995:

“In the board's opinion the film warrants refused for one scene of gratuitous sexual violence. At 65 minutes Christiana is attacked by her relatives, a woman and two men. They strip her and hold her down, standing on her arms and legs. One of the men pulls his trousers down with visuals of his naked buttocks as he lays on top of her naked body. He implicitly rapes her, thrusting for a prolonged period while she cries out "No, no ,no" shown in medium range with close up visuals of her hands clenching and unclenching. There is in the board's opinion no contextual justification for this scene. It is prolonged and detailed and as such warrants Refusal”.

Subsequently, Siren Entertainment cut Virgin Among the Living Dead down to 75 minutes and were awarded an R-rating in August 1995.

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Several Jess Franco films have been released in Australia on DVD, all presumably uncut (unfortunately I could not obtain the running time for most titles). These are:   

Blood of Fu Manchu (Stomp Visual). Rated M in October 2005 for ‘moderate violence, nudity and incidental coarse language’.

The Bloody Judge (Stomp Visual). Rated MA in October 2005 for  ‘strong violence and nudity’.

The Castle of Fu Manchu (Stomp Visual). Rated M in October 2005 for ‘moderate violence’.

Eugenie De Sade (Force Entertainment, 87 minutes). Rated R in November 2003 for ‘strong sexual violence’.  

The Girl from Rio (Umbrella Entertainment, 108 minutes). Rated M in May 2010 for ‘sexualised nudity’.

Jack the Ripper (Big Sky Video). Rated R in July 2004 for ‘high level violence and sexual violence’.

99 Women (Umbrella Entertainment, 90 minutes). Rated MA in June 2007 for ‘‘strong sexual violence, strong sex scenes and sexual references and nudity’.

Vampyros Lesbos (Umbrella Entertainment). Rated R in April 2004 for ‘sexual references and nudity’.

At the time of writing there has been no local Blu-Ray releases of Jess Franco titles.

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A few Franco films have also screened on Australian television. In the late 1990’s/early 2000’s, a dubbed, fullscreen 97 minute print of Count Dracula was aired regularly on Foxtel (Australia’s Pay-TV network). It was rated either M or MA.

The free-to-air SBS channel screened some titles on their ‘Cult Movie’ nights during the mid 1990s-early 2000s. These were all screened with English subtitles:

The Awful Dr Orloff 

Premiere screening circa 1995, rated  either M or MA.

Dr Jekyll’s Mistresses

Premiere screening circa 1995, rated M for ‘violence, nudity and drug use’.

She Killed in Ecstasy

Premiere screening circa 2001, rated MA.

Vampyros Lesbos

Premiere screening circa 2001, rated MA.

Virgin Among the Living Dead

Premiere screening 1997, rated MA. This print contained the Jean Rollin zombie footage as well as optical censoring of nudity.

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Classification guide for films in Australia

G – General. The content is very mild in impact. The G classification is suitable for everyone. G products may contain classifiable elements such as language and themes that are very mild in impact

PG – Parental Guidance. The content is mild in impact. The impact of PG classified films should be no higher than mild, but they may contain content that children find confusing or upsetting and may require the guidance of parents and guardians, such as language and themes that are mild in impact. It is not recommended for viewing by persons under 15 without guidance from parents or guardians.

M – Mature. The content is moderate in impact. Films classified M contain content of a moderate impact and are recommended for teenagers aged 15 years and over. Children under 15 may legally access this material because it is an advisory category. However, M classified films may include elements such as violence and nudity of moderate impact.

MA 15+ - Mature Accompanied.  The content is strong in impact. MA 15+ classified material contains strong content and is legally restricted to persons 15 years and over. It may contain classifiable elements such as sex scenes and drug use that are strong in impact. A person may be asked to show proof of their age before hiring or purchasing an MA 15+ film. Cinema staff may also request that the person show proof of their age before allowing them to watch an MA 15+ film. Children under the age of 15 may not legally watch, buy or hire MA 15+ classified material unless they are in the company of a parent or adult guardian. Children under 15 who go to the cinema to see an MA 15+ film must be accompanied by a parent or adult guardian for the duration of the film. The parent or adult guardian must also purchase the movie ticket for the child.

R 18+ - Restricted. The content is high in impact R 18+ material is restricted to adults. Such material may contain classifiable elements such as sex scenes and drug use that are high in impact. Some material classified R18+ may be offensive to sections of the adult community. A person may be asked for proof of their age before purchasing, hiring or viewing R18+ films at a retail store or cinema.

X 18+ - Restricted. X 18+ films are restricted to adults. This classification is a special and legally restricted category which contains only sexually explicit content. That is, material which shows actual sexual intercourse and other sexual activity between consenting adults. X18+ films are only available for sale or hire in the ACT and the NT.

RC – Refused Classification.  Material that is Refused Classification is commonly referred to as being ‘banned’. Films that are classified RC cannot be sold, hired, advertised or legally imported in Australia. Material that is classified RC contains content that is very high in impact and falls outside generally accepted community standards

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References

Australian Classification Database  http://www.classification.gov.au/

CAARP Database http://caarp.flinders.edu.au

Internet Movie Database  http://www.imdb.com/

Pre-Cert Video  http://www.pre-cert.co.uk/

Refused-Classification.com  http://www.refused-classification.com/