04 May, 2014

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.

 _________________________________________________________

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.

_________________________________________________________
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.

_________________________________________________________

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

_________________________________________________________
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/



03 May, 2014

THE DEMONS Blu-ray

REVIEW BY ROBERT MONELL
THE DEMONS: REDEMPTION FILMS Blu-ray.
Directed by Jess Franco 
France-Portugal 1972
Produced by Robert De Nesle
Director of Photography: Raul Artigot
118 m 30s
2.35:1 1920x100p
In French and German
with optional English subtitles
Interview with Jess Franco by David Gregory (16m)
Deleted footage (6m)
2 theatrical trailers
Trailers for THE AWFUL DR. ORLOFF, FEMALE VAMPIRE. EXORCISM/DEMONIAC

THE DEMONS Blu-ray: Witch burning...
Margaret (Britt Nichols), accused of witchcraft, is burned by Lord Jeffreys...

In 17th Century England Grand Inquisitor Lord Jeffreys (John Foster) tortures, questions and burns women accused of witchcraft. One of the condemned women, an elderly crone, curses the Judge, Lady De Winter (Karin Field), along with Renfield (Alberto Dalbes), from the pyre, vowing that her vengeance will be executed by her daughters, Margaret (Britt Nichols) and Kathleen (Anne Libert), who are both novices in a convent under the authority of a frustrated Mother Superior (Doris Thomas). Lady De Winter and her secret lover Renfield quickly locate the daughters and haul off Kathleen to the Inquisition where she is tortured and seduced with promises of clemency by the corrupt Jeffreys. She eventually escapes with the help of Lord De Winter (Howard Vernon), who is revealed to actually be her father and is secretly plotting against the present government to restore the crown to its rightful owner. But Kathleen's journey has only just begun and numerous revelations spell out an ironic fate for herself, Margaret, and eventually Lord Jeffreys.

LES DEMONS (onscreen title) is one of the better made and more coherent of the films Jess Franco made for French producer Robert De Nesle between 1971 to 1978 (the year of the prolific producer's demise). While still relatively poverty stricken, it appears to have been better resourced than his 1972 Portugal lensed  monster rallies (DRACULA CONTRA FRANKENSTEIN, LA MADICION DE FRANKENSTEIN) also co produced by De Nesle.  Based on a script by Franco, from a "novel" credited to "David Khunne", this is actually a remake of Franco's earlier THE BLOODY JUDGE (EL PROCESO DE LA BRUJAS), a 1970 release with Christopher Lee playing Jeffreys in a totally different interpretation. That film, produced by Harry Alan Towers, may have had a higher budget and somewhat competent battle scenes included, but the cinematography in LES DEMONS, by Raul Artigot (who directed Foster [rn Cihangir Gaffari) in LA NOCHE DE LA BRUJAS the same year) is superior in terms of lighting, atmosphere and framing, although Franco's obsessively telezoom is very much in evidence, especially during the many bump and grind sex sequences.

In this complete version the self pleasuring writhings of Mother Superior (Doris Thomas) go on for over 3 minutes as the telezoom moves in and out of her copious folds of flesh, very much like the probings of the verdant Portuguese exteriors. It somehow seems appropriate within the establishment of a totally voyeuristic aesthetic illustrated by the repeated framing of sadistic tortures (performances) from the point of view of enthused audiences (the Inquisition in the opening scene, the villagers in the closing burning of Nichols).

Point of view is everything in cinema, especially the cinema of Jess Franco, and he often places his camera amidst the onscreen viewers of the sado erotic spectacle as a way of subversively implicating/deconstructing the off screen viewer's appetite for such tortures. That may seem a stretch but even the critical Phil Hardy Horror Encyclopedia compares Franco's approach here favorably to Ken Russell's in his equally sadistic 1971 nunsploitation epic, THE DEVILS, which, as admitted by the director in the interview with David Gregory, was  the direct inspiration for this project. Both films exclusively deal with sexually inflamed clerics in the midst of a historical context of witch hunting and official corruption and both have their merits and demerits.The point of interest is that the accused and accusers in both films are related to religion, the catch being that the Inquisitors often sport political ambitions and agendas. One could expand this in the case of LES DEMONS ( and Franco indicates this in the interview) into an allegory of the situation in Spain under the yoke of Francisco Franco at the time the film was made. Religious hypocrisy in his homeland was a running theme in the life and career of Jess Franco.

 THE DEMONS is certainly one of Franco's best cast and acted films for De Nesle, with the cynical, shifty- eyed Jeffreys convincingly portrayed by Foster (as Franco notes in the interview), solidly backed up by Anne Libert, Karin Field, Doris Thomas, the always welcome Howard Vernon and especially the stunningly sensual Britt Nichols. In some ways the film is stolen by Franco and Spaghetti Western regular Luis Barboo as the dedicated torture supervisor. It's not great Jess Franco but it's surprisingly compelling and complex, given the debased genre and available budget. It's definitely a "Jess Franco" film, overflowing with his personal obsessions and touches.

[Below] Vintage US theatrical poster; obviously a post THE EXORCIST release


THE DEMONS beats THE DEVILS to North American Blu-ray release with this highly recommended release. THE DEMONS actually played theatrically in the US* in the the mid 1970s and was advertised as a kind of lurid companion to the wildly successful THE EXORCIST (1973). There is no record of a Canadian or French Canadian theater/home video release but it may have been banned./deleted from databases there. It's many release titles include THE SEX DEMONS, OS DEMONIOS, LES DEMONS and Les Enfants de Demon (alternate French video title).

[Below] 79m UK Video

This Blu-ray release is an absolutely stunning presentation, the best Jess Franco BD so far from REDEMPTION, in terms of both video and audio quality. Newly mastered in HD from original 35mm elements, the source materials appear to have been almost pristine and the colors, sharpness, definition, luminosity are impressive throughout the nearly 2 hour run time. The film has always seemed a bit overlong but it has never looked or sounded better, especially Jean-Bernand Raiteux's startlingly anachronistic, acid rock influenced soundtrack (released as TRAFFIC POP-J.M. Lorgere) All in all, a far cry from any and all previous VHS/DVD presentations. My own introduction to this film was via the 1980s ear UNICORN VHS, THE DEMONS,  89 approx. a heavily cut, cropped monstrosity in comparison. To have it finally totally uncut, in OAR and HD, with language options and English subtitles now gives us the ability to enjoy and evaluate the film for what it is.

The special features include a revealing interview with the late director by David Gregory. Jess Franco, appearing frail and tired, totally dismisses his film, calling it "bad" and admitting it's not as good as its model, THE DEVILS. But he praises the skilled Portuguese costume designers, whose detailed period costumes are a highlight and are even more impressive in this 2.25:1 1920 x 1980 p transfer. He also, in an interesting aside, comes out against films which use sadomasochistic imagery as an exploitation element, and denies his films do so, although he does manage to fend off the interviews challenges of that dubious statement. In a way, this film and certain others (NECRONOMICON, EUGENIE...THE STORY OF HER JOURNEY INTO PERVERSION) can be seen a cautionary tales of what happens to participants in such activities. At least Jess Franco, in what may be his very last interview, goes out fighting.

*[Mick Cantone (from EL FRANCONOMICON): "THE DEMONS played theatrically in the US sometime in 1973. It was released by Howard Mahler Films and the running time was 79 minutes. In fact, the Dutch VHS release from VML Video was sourced from that print (an MPAA R rating card appears at the end). It is the same print I saw with Mirek Lipinski at Anthology Film Archives last November.]" Thanks to Mick and John Charles for additional information on the North American theatrical history of this film. Special thanks to Eric Cotenas for the vintage US theatrical poster and information on the vintage international video releases]

(C) Robert Monell, 2014

29 April, 2014

THE DEMONS: Redemption Blu-ray



THE DEMONS: REDEMTION Blu-ray.
Blu-ray: REDEMPTION FILMS
118 m 30s
In French, German language 
with optional English subtitles
Interview with Jess Franco by David Gregory (16m)
Deleted footage (6m)
2 theatrical trailers
Trailers for THE AWFUL DR. ORLOFF, FEMALE VAMPIRE. EXORCISM/DEMONIAC

THE DEMONS Blu-ray: Witch burning...
Margaret (Britt Nichols), accused of witchcraft, is burned by Lord Jeffreys...

In 17th Century England Grand Inquisitor Lord Jeffreys (John Foster) tortures, questions and burns women accused of witchcraft. One of the condemned women, an elderly crone, curses the Judge, Lady De Winter (Karin Field), along with Renfield (Alberto Dalbes), from the pyre, vowing that her vengeance will be executed by her daughters, Margaret (Britt Nichols) and Kathleen (Anne Libert), who are both novices in a convent under the authority of a frustrated Mother Superior (Doris Thomas). Lady De Winter and her secret lover Renfield quickly locate the daughters and haul off Kathleen to the Inquisition where she is tortured and seduced with promises of clemency by the corrupt Jeffreys. She eventually escapes with the help of Lord De Winter (Howard Vernon), who is revealed to actually be her father and is secretly plotting against the present government to restore the crown to its rightful owner. But Kathleen's journey has only just begun and numerous revelations spell out an ironic fate for herself, Margaret, and eventually Lord Jeffreys.

LES DEMONS (onscreen title) is one of the better made and more coherent of the films Jess Franco made for French producer Robert De Nesle from the 1971 to 1978 (the year of the prolific producer's demise). While still relatively poverty stricken it appears to have been better resourced than his ealier monster rallies (DRACULA CONTRA FRANKENSTEIN, LA MADICION DE FRANKENSTEIN) also co produced by De Nesle.  Based on a script by Franco, from a "novel" credited to "David Khunne", this is actually a remake of Franco's earlier THE BLOODY JUDGE (EL PROCESO DE LA BRUJAS), a 1970 release with Christopher Lee playing Jeffreys in a totally different interpretation. That film, produced by Harry Alan Towers, may have had a higher budget and somewhat competent battle scenes included, but the cinematography in LES DEMONS, by Raul Artigot (who directed Foster [rn Cihangir Gaffari) in LA NOCHE DE LA BRUJAS the same year) is superior in terms of lighting, atmosphere and framing, although Franco's obsessively telezoom is very much in evidence, especially during the many bump and grind sex sequences. In this complete version the self pleasuring writhing of Mother Superior (Doris Thomas) goes on for over 3 minutes as the telezoom moves in and out of her copious folds of flesh, very much like the probings of the verdant Portuguese exteriors. I somehow seems appropriate within the establishment of a totally voyeuristic aesthetic illustrated by the repeated framing's of sadistic tortures (performances) from the point of view of enthused audiences (the Inquisition in the opening scene, the villagers in the closing burning of Nichols). Point of view is everything in cinema, especially the cinema of Jess Franco, and he often places his camera amidst the onscreen viewers of the sado erotic spectacle as a way of subversively implicating/deconstructing the off screen viewer's appetite for such tortures. That may seem a stretch but even the critical Phil Hardy Horror Encyclopedia compares Franco's approach here favorably to Ken Russell's in his equally sadistic 1971 nunsploitation epic, THE DEVILS, which, as admitted by the director in the interview with David Gregory, was  thedirect inspiration for this project. Both films exclusively deal with sexually inflamed clerics in the midst of a historical context of witch hunting and official corruption and both have their merits and demerits. THE DEMONS is certainly one of Franco's best cast and acted films for De Nesle, with the cynical, shifty eyed Jeffreys convincingly portrayed by Foster (as Franco notes in the interview), solidly backed up by Anne Libert, Karin Field, Doris Thomas, the always welcome Howard Vernon and especially the stunningly sensual Britt Nichols. In some ways the film is stolen by Franco and Spaghetti Western regular Luis Barboo as the dedicated torture supervisor. It's not great Jess Franco but it's surprisingly compelling and complex, given the genre and available budget. It's definitely a "Jess Franco" film, overflowing with his personal obsessions and touches.

THE DEMONS beats THE DEVILS to North American Blu-ray release with this highly recommended release. THE DEMONS actually played theatrically in the US* in the the mid 1970s and was advertised as a kind of lurid companion to the wildly successful THE EXORCIST (1973). There is no record of a Canadian or French Canadian theater/home video release but it may have been banned./deleted from databases there. It's many release titles include THE SEX DEMONS, OS DEMONIOS, LES DEMONS and Les Enfants de Demon (alternate French video title).

This Blu-ray release is an absolutely stunning presentation, the best Jess Franco BD so far from REDEMPTION, in terms of both video and audio quality. Newly mastered in HD from original 35mm elements, the source materials appear to have been almost pristine and the colors, sharpness, definition, luminosity are impressive throughout the nearly 2 hour run time. The film has always seemed a bit overlong but it has never looked or sounded better, especially Jean-Bernanr Raiteux's startlingly anachronistic, acid rock influenced soundtrack (released as TRAFFIC POP J.M. Logere) All in all, a far cry from any and all previous VHS/DVD presentations. My own introduction to this film was via the 1980s ear UNICORN VHS, THE DEMONS,  89 approx. a heavily cut, cropped monstrosity in comparison.

The special features include a revealing interview with the late director by David Gregory. Jess Franco, appearing frail and tired, totally dismisses his film, calling it "bad" and admitting it's not as good as its model, THE DEVILS. But he praises the skilled Portuguese costume designers, whose detailed period costumes are a highlight and are even more impressive in this 2.25:1 1920 x 1980 p transfer. He also, in an interesting aside, comes out against films which use sadomasochistic imagery as an exploitation element, and denies his films do so, although he does manage to fend off the interviews challenges of that dubious statement. In a way, this film and certain others (NECRONOMICON, EUGENIE...THE STORY OF HER JOURNEY INTO PERVERSION) can be seen a cautionary tales of what happens to participants in such activities. At least Jess Franco, in what may be his very last interview, goes out fighting.

*[Mick Cantone (from EL FRANCONOMICON): "THE DEMONS played theatrically in the US sometime in 1973. It was released by Howard Mahler Films and the running time was 79 minutes. In fact, the Dutch VHS release from VML Video was sourced from that print (an MPAA R rating card appears at the end). It is the same print I saw with Mirek Lipinski at Anthology Film Archives last November.]" Thanks to Mick and John Charles for additional information on the North American theatrical history of this film]

(C) Robert Monell, 2014







THE DEMONS Blu-ray: Witch burning...

CRAIG HILL RIP/FALL OF THE EAGLES video

The American actor Craig Hill, known for his many Eurowestern roles from the 1960s and 70s and starring in the DESILU TV show WHIRLYBIRDS from 1957 to 1970, died on April 21, 2014 in Barcelona. Spain, reportedly from natural causes. A 21st Century Fox contract player, his working career spanned 50 years, from 1950, the year he appeared in the classic ALL ABOUT EVE, to the early 21st Century

Craig Hill Fowler was born in 1926 and became a reliable, prolific, versatile TV and film actor who could play both protagonists and villains, he appeared in three Jess Franco films in the latter category: LA BAHIA ESMERALDA aka ESMERALDA BAY (1989), as a CIA hitman, LA CHUTE DES AIGLES and LA PUNTA DE LAS VIBORAS aka DOWNTOWN HEAT (both 1990), as a Nazi officer in the former and as a drug lord in the latter. He moved to Spain in the 1960s and later married the Spanish actress-model Teresa Gimpera (LUCKY, THE INSCRUTABLE).

28 April, 2014

THE DEMONS on Blu-ray: Forthcoming Review!

LES DEMONS [onscreen title], Jess Franco's 1972 Nunsploitation epic, streets on Blu-ray tomorrow from REDEMPTION FILMS. I'm pleased to report that this may be their best yet Franco BD release. Made in response to Ken Russell's controversial THE DEVILS  (1971), this low budget historical horror show exemplifies Jess Franco at his most cynical and imaginative. An erotic, sadistic and supernatural reconsideration of the Judge Jeffries story previously told in Franco's 1970 THE BLOODY JUDGE.

A stunning, new 2.35:1 HD transfer from original 35mm elements, completely uncut, with English subtitles. Special features include a fascinating, moving last interview with the late director. This is a revealing, not-to-be missed presentation. A full review will be posted here asap.
THE DEMONS Blu-ray. This is the real deal!
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(C) Robert Monell, 2014

27 April, 2014

Jess Franco and Jean-Marie Straub---SCHAKALE UND ARABER (Jackals and Arabs) - Jean-Marie Straub, 2011


A series of blogs examining  the films of Jess Franco in relation to the experimental, highly stylized works of Jean-Marie Straub and his late wife, Danielle Huillet. I met them in 1975 in New York when I was working on an experimental film in the Soho district. Very unpretentious, committed artists who made experimental, uncompromising, unique, abstract films (MOSES UND AARON, HISTORY LESSONS) which share a sense of negative space, and are related to sculpture, music, painting as much as conventional cinema the limits of which are explored with extremely limited means. Music, both classical and modern, was central to the films of Straub-Huillet and their CHRONICLE OF ANNA MAGDALENA BACH (1968) is considered to be one of the most unique and moving films ever made about a composer and his work, combining an almost Bresson like minimalist aesthetic with performances staged in historical locations by Gutav Leonhardt. Music, of course, is also a central concern in Jess Franco's work.
  1. DER TOD DES EMPEDOKLES 1 (Straub-Huillet)

    Hoelderlin schreibt 1798 die erste Fassung seines Trauerspiels, geschult an klassischer Metrik und an Klopstock, mit jenen ...
  2. STRAUB - HUILLET: DER TOD DES EMPEDOKLES

    Hoelderlin schreibt 1798 die erste Fassung seines Trauerspiels, geschult an klassischer Metrik und an Klopstock, mit jenen ...
A French article partially reproduced in Alain Petit's Jess Franco guide, THE MANACOA FILES mentions a relationship between Straub's aesthetic and Franco's bizarre Maciste films from 1973. Frequent Franco collaborator HowarVernon was in Straub's  Der Tod des Empedokles  as
Hermokrate. I'm seeking a complete version of that film. Please contact me in the comment section or by email if any information or that film is available somewhere. 

17 April, 2014

PAMELA STANFORD SERIES, a video by Robert Monell

VIDEOHUNTER : Pamela Stanford Series #1, a video by Robert Monell
Music by PARIS ONE TRANCE Internet radio.

Thanks to the bewitching, stunning Pamela Stanford [Monique Delaunay] for participating in these videos. She is a unique presence, an iconic actress and a person of admirable mystery....

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

TWO FEMALE SPIES WITH FLOWERED PANTIES, ZOMBIE LAKE, ORLOFF AND THE INVISIBLE MAN, HELLTRAIN, FRAULIEN DEVIL, EXORCISM, 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.

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.






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.




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]
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