03 July, 2026

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

 

REVISED AND EXPANDED

*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, DVD or Blu-Ray 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.

 


White Cannibal Queen/Cannibals

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

 


Celestine, Maid at Your Service/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 some of Franco's best work, and believe me I've seen a lot

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.

 

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/Ninety-Nine Women

In May 1973, a 90 minute print of 99 Women (under the title Ninety-Nine Women) submitted by CUC Films Australia was approved by the Censorship Board.

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.

 

 

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 in 1989.

 


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’.

 


A Virgin Among the Living Dead

In April 1995, the OFLC banned a 77 minute videotape of A 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’.

Venus in Furs (Umbrella Entertainment). Rated R in 2005 for ‘adult themes’.

 

Just one Franco film has been released on Blu-Ray to date.

Vampiros Lesbos (Umbrella Entertainment). Rated R in 2015 for ‘sexual references and nudity’.

 

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/

Internet Movie Database

http://www.imdb.com/

Pre-Cert Video

http://www.pre-cert.co.uk/

Refused-Classification.com

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

 

 

 

31 May, 2026

KISS AND KILL: Fu Manchu and beyond representation: Part I

This post represents the 20th anniversary of this blog. When I started it in June. 2006 I had just relocated from an apartment in the city to a 125 year old house in a rural area. I had just finished a series of interviews with Jess Franco and wanted to have a place where I could regularly discuss his filmography, or rather my evolving perception of his massive output. I want to express my thanks and appreciation to my followers and their valuded feedback in the comments section. Hopefully we'll have another 20 years here if the internet still exists in the age of AI and I can make it to the age of 95.
The exotic universe of Fu Manchu holds a continuing fascination in the Franco multiverse. Wether it's the films, both Franco's and other director's approach to the character, or Franco's own deep dedication to representing the exoticism of that world, which spans a 50 year period, from 1967 to his 21st century digital period. But we have to loop back to his youthful obsession with the 1930s, 40s and 50s serials, films, magazines, novels and images based on the works of Sax Rohmer. The director himself speaks of his delight with that world and the formats in which is was presented to the public. He has talked about how happy he was while directing his first Fu Manchu film in late 1967 for producer Harry Alan Towers, who wrote the script for the project.* After the paradigm shift which the success of his 1967 NECRONOMICON (Succubus) had imposed on him he had found a way to become a commerical director making an entertainment for an international audience, rather than having to continue to make comprosed films within the barriers of Francisco Franco censorship which had imprisoned him for the first years of his career.
I remember seeing THE FACE OF FU MANCHU in a downtown movie theater in 1965. Colorful and action-packed to my 13 year old eyes, it impressed me on the big screen. It had been imported to America by SEVEN ARTS. It was a Harry Alan Towers-German co-production and the first of 5 films starring a famous UK actor as Fu Manchu which would be made over a period of 4 years. It was capably directed by Don Sharp. The mold had been set. For a variety of reasons by the time Franco got his hands of the directing reins the series ran out of some its commercial steam and exotic ambience. The were two export edits of this 4th iteration, THE BLOOD OF FU MANCHU 93 minutes and KISS AND KILL, which was re-edited and shortened. I first saw this on a VHS tape circa 1989 via the 1988 American Video Corp. prerecord.
I actually perfer this reedited version which at least moves with a certain dispatch and doesn't seem to sag as much in the middle. The new opening scene commences with a high angle shot of the Brazilian jungle, which seems shot from an airplane and may be stock footage. It then proceeds to shots of Gotz George cutting his way with a machete through the thick jungle foilage.This seems more in the RAIDERS OF THE LOST ARK universe with Harrison Ford cutting his way through the jungles. Inspired, consciously or unconsciously, by RAIDERS OF THE LOST ARK for this 1988 video release or was the opening of that mega-hit, showing the hero cut his way through the thick jungle inspired by BLOOD....? I doubt it. Speilberg and George Lucas likely had better things to do..

This American Video 1988 VHS lists a 91 minute runtime on the back cover  (it's actually shorter than THE BLOOD OF FU MANCHU version and plays much more efficiently with a new opening scene featuring Gotz George leading an expedition toward Fu Manchu's hidden jungle city, which actually looks more like a large cave. Credited to Peter Welbeck, producer Harry Alan Towers, this first Franco-Towers collaboration is somewhat more coherent, but less colorful than the Franco-Towers THE CASTLE OF FU MANCHU (1969).

The back copy on the Kiss and Kill VHS (Rated PG) reads like a promo for a 1970s kung fu epic: " The great Christopher Lee explodes in this kung-fu classic! Playing a Japanese (?!) mercenary, he's intent on righting  the evils that roam the land [actually, he's playing the Chinese super villain Fu Manchu!] He's in top form, fighting off his enemies with lots of sizzling high energy, high-kickin' action! As one of the most exciting films of its genre, KISS AND KILL will keep you on the edge of your seat!" But even trimmed by 10 or so minutes it's somewhat of a slog and won't keep anyone on the edge of their seat. And there is no high kicking kung fu fighting in any version which I've seen. Immediately beyond BLOOD.... lay two more Rohmer installations. And "installations" is an appropraiate term for THE GIRL FROM RIO and THE CASTLE OF FU MANCHU. And there would be returns to Rohmerland in the 1980s. But first let's look at the sources of this pop culture madness.
*Franco himself mentions the Republic serial as a primary inspiration, noting that anything which elongated that unique atmosphere was delightful for him on the interview with him on the Blue Underground Blueray .

04 May, 2026

BANGKOK, CITA CON LA MUERTE (Jess Franco. 1985)

Bangkok, Cita con la Muerte Director: “Cliffor Brawm” sic (Jess Franco)/ Director of Photography: Juan Cozar./ Produced by Golden Films Internacional S.A. in Alicante, Valencia, Macao and Bangkok, Thailand. Now that this Franco oriental adventure has been released on Blu-ray by Severin Films, a fresh look is possible.
BANGKOK, CITA CON LA MUERTE is fascinating to the serious Jess Franco student but may not engage interest as a serious action film with cut rate Jess Franco-style martial arts interludes included. The formulaic plot combines drug running, Thai pirates (led by Lina Romay), karate fighting, kidnapping, comic relief and tourist footage which on first viewing looks cribbed from an unknown source. [The DoP of this film, Juan Soler Cozar, kindly informed me that he was actually sent to Bangkok to shoot some street footage, and that it does appear in the film. I was very surprised that they went to the expense and trouble to do this, especially considering the production’s obvious micro-budget]
The yacht-going daughter of a millionaire is kidnapped by pirates, led by Aminia Lina Romay). Her father (Eduardo Fajardo) hires a bumbling private eye named Panama Joe (Bork Gordon) to locate her. The daughter’s boyfriend (Jose Llamas) is also on the kidnappers’ trail. Panama Joe discovers the crooks are led by a drug smuggler (Antonio Mayans), who is in turn being double crossed by Queen Amania (Lina Romay). The detective roams around the faux Asian locations, tries to play both sides against the other, while uncovering deeper layers of corruption and double dealing. BANGKOK is dialogue and plot heavy to no good end, and Gordon’s imitation Inspector Columbo ramblings just do not spark enough interest. The characters are shown talking in cartoon dialog balloons during the opening credits, but Franco unaccountably drops this unusual device immediately and never picks it up again. What’s left is a C-minus adventure with some comic relief and sloppily staged karate stand-offs, in which the participants miss each other by miles. Then again, given the budget and assumed rushed shooting schedule this could be understandable. It also could indicate the director's disdain for those perfectly choreographed martial arts films of Chuck Norris, Jackie Chan, Sonny Chiba, etc. Gordon (Christian Bork) just seems like a disheveled guy who has wandered in. He's actually a German comedian/television actor, who adds some comic relief. Like the karate stuff, comedy-parody needs timing. The lines and martial arts blows rarely connect. Actually, I managed to find some amusement in the martial arts showdowns where the fighters miss contact with each other by such obvious distances that it looks like children playing at karate fighting. This is all likely due to a crushing schedule/lack of budget. Nonetheless the colorful cinematography frames the locations with skill and makes the ALicante locations seem like Southeast Asia, at least for 90 minutes.
An action packed, amusing mix of Kung Fu fighting, faux Asian aesthetics, modern day pirates, BANGKOK, DATE WITH DEATH (1985) mixes comic book-style imagery with crime film elements, genre parody and a adventure plot with a not-so-happy ending. Franco has tried this before, notably in the delightful LOS BLUES CALLE POP…. (1983) and La sombra del judoka contra el doctor Wong (1985). Franco's love of comic book villains, scenariios and imagery is probably best illustrated by his 1967 Eurospy blowout, LUCKY, THE INSCRUTABLE.
Lina Romay has a few touching moments as the pirate leader, but she may have been miscast in an Asian role, and her familiarity as Lina Romay distracts from her performance. This distance would recur in her performance as a daughter of Fu Manchu in Franco's 1986 Esclavas del Crimen, another faux oriental mash-up in which he Asian make-up was even more exaggerated. Though she was still up to performing in comedic mode for the series of hardcore films Franco would direct in the 1985-86 period. She would be less of a presence in his larger bugeted productions of Franco's 1987-1990. She would return in his late 1990s video period in harsher persona such as the huntress in Franco's TENDER FLESH, a quasi remake of this 1973 COUNTESS PERVERSE. Her most amusing scene here is when she dances around in a tight swimsuit accompanied by a mechanical band ( a wondrous installation manufactured in Belgium) She was beginning to move beyond the sex symbol stage but was still a formidable actress who Franco woulld use in character roles. Veteran character actor Eduardo Fajardo (DJANGO) turns in a professional but unexceptional performance as the millionaire with a hidden agenda.
The movie benefits from its luminous cinematography and occasionally hectic energy but needs a more interesting focal point. The Far Eastern locations, represented via the aforementioned footage and Alicante scenery are given an atmospheric boost by Pablo Villa’s (Franco and Daniel White) brassy score, some of which recalls music heard in Franco’s earlier FU MANCHU AND THE KISS OF DEATH/KISS AND KILL (1967). Some library cues are also mixed in the soundscape.** Given the negatives I’m at the stage where I can still engage with and enjoy even an understandably flawed genre mashup such as this one. It’s obvious that Jess Franco took it seriously enough to attempt to deliver a multi-faceted entertainment package under impossible circumstances. As he told me when I interviewed him about his Golden Films Internacional period, these productions were “poor” (his words) i.e. made at very low coast, with few resources to spare and rushed out to theaters or hidden away in the offices of producer Emilio Larraga to be lost forever. I had some fun watching it for the first time on a typically blurry VSOM video due, but had no idea where one could see it in decent quality. Now that it's on a sparkling new Blu-ray, it can be given its due. It survies as an example of Franco’s 1980s exotica. *Thanks again to Juan Cozar for additional information on the production of this film. ** Thanks to Stuart Lindsay (C) Robert Monell [2026]

26 April, 2026

VIAJE A BANGKOK, ATAUD INCLUIDO (1985) Blu-ray

This 1985 Manacoa production is not a strict Edgar Wallace adaptation. It initially registers as a very loose 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. It begins by restaging the opening of that 1966 film in which a diplomat is assassinated at a cocktail party, then focusing on an investigation targeting a mind-control cult which uses drugs and rituals instead of a technological systems to turn victims into vision disabled robotic assassins. The black and white 1966 film somewhat suffers because the skin of the robots does not change color when shut down, as mentioned in the dialogue. It is very heavy on slapstick humor. VIAJE bears some similarites to the 1924 Edgar Wallace story THE DARK EYES OF LONDON and the films which were adapted from it, including Alfred Vohrer's 1962 THE DEAD EYES OF LONDON and the UK lensed Bela Lugosi murder mystery, THE HUMAN MONSTER (1939). Like Franco's other Wallace film adaptations it could be termed as a mystery thriller based on some characters and plot elements from the original novels and stories of the writer. Since they are first and foremost "Jess Franco" films they are stuffed with the director's personal language, which also could be termed Franco Lingua.
The original Wallace story involves criminal activities going on in a London home for the blind. There is a cult led by a blind charismatic head honcho in VIAJE, who uses mind control to use blind operatives to murder victims. The crimes are investigated by British sleuth Colonel Daniel J. Blimp (Franco icon Howard Vernon) and British Secret Service operative Philiip Sanders (Jose Llamas). Released in 1985, it was Franco's final Wallace adaptation.
Being a low budget Jess Franco film, produced partially by the director's MANACOA FILMS, this is about as aesthetically far from the German Wallace adaptations one can get. A very perceptive bonus feature on the SEVERIN FILMS Blu-ray is an interview with Spanish Franco scholar Alex Mendibil, who notes the earlier Wallace titles and discusses the production of this film as a typically rushed shoot largely staged at a hotel in Altea, a suburb of Alicante, Spain. Franco's intrepid cinematographer Juan Soler Cozar was sent to Bangkok to shoot some footage of local streets, tourist exteriors and architecture. Some exteriors were shot in the Canary Islands, featuring local actor Albino Graziani. The fact that it all hangs together in an entertaining genre satire mode, with numerous Franco "in-jokes" included, is a tribute to the director's editorial skills. The centerpiece of the film is a witty, endearing performance by Franco icon Howard Vernon, as Colonel Daniel J. Blimp. Of course, there's the Michael Powell-Pressburger British film titled THE LIFE AND DEATH OF COLONEL BLIMP, which is one of those Jess Franco "in-jokes" along with various characters named Peter Welbeck, Jonathan Keats, Charles Dickens and Wallace secret agent Philip Sanders, the latter a character from the Wallace novel SANDERS COME FROM THE RIVER. That novel was previously adapted by Franco with the 1982 SANGRE EN MIS ZAPATOS, another Wallace adventure largely shot in various Spanish hotel interiors. I guess that SANGRE (featuring Vernon as a Bond style villain), VIAJE and BANGKOK, CITA CON LA MUERTE (1985), could be termed a hotel trilogy. What would Jess Franco have done without hotels? Even the 1966 CARTES SUR TABLE has numerous scenes also staged in Alicante hotels. As Mendibil notes, they fufilled most of his major production needs, housed cast and crew and also cross reference Alfred Hitchcock's spy adventures, who also often used hotel rooms (and trains) as convenient launch pads.
Vernon provides many amusing asides, wearing his Panama white suit and endlessly reaching for his tobacco pouch, which somehow contains a mini tape recorder and can be used as an IED (Improvsied Explosive Device). As in Wallace's original THE DARK EYES OF LONDON there is a villain, Professor Tao (Franco actor-collaborator Trino Trives) who is blind and uses cult members as operatives. The opening attack on the Ambassador is partially represented as a reflection in the sunglasses of the killer. The final showdown includes a group of cult robots, all wearing shades as they launch an attack on VIPS, which Sanders manages to sabotage by grabbing a convenient submachine gun. It should be noted that the motives of the villain are closer to the aging hippie globalist model than the typical world domination plans of a Bond villain. Tao is planning a New World Order enforced by his Apocalpyse cult. The scenes in Tao's temple are staged in the style of Orson Welles shot on-the-run films. Tao's hideout is represented by several oriental statues symetrically placed at the entrance as Tao writhes beyond obscured by smoke and mirrors. Creating something eye catching out of next to nothing again illustrates that Franco adopted Welles' default to dime store mise-en-scene as a working method. Jess had learned his lessons well on the set of Welles' CHIMES AT MIDNIGHT.
Reflections and mirrors are a continuous element in Jess Franco films. They are always found in hotel rooms and Franco always employs them as guest portals in another dimension beyond the cramped shooting space. The cult leader, Dr. Tao, was named Dr. Orloff when played by Lugosi in THE HUMAN MONSTER, a further connection with the Franco filmogaphy considering that the villain of Franco's first horror film, GRITOS EN LA NOCHE (1961), was named Orloff and like the Orloff of THE HUMAN MONSTER has a monstrous henchman (Morpho) who turns on the villain at the climax.
The most interesting aspect to consider when watching VIAJE A BANGKOK, ATAUD INCLUDIO is that the film looks more generously resourced than it actually was. It's flush with tropical interludes, color gel striptease performances and some nifty action moments, such as when Colonel Blimp goes on the attack utiliing his Australian walking stick. It gets the most out of its stretched resources as it briskly proceeds on its way. One remaining mystery at this point is the exact identity of the composer of the score, credited as Denis Farnon, which OBSESSION: THE FILMS OF JESS FRANCO lists as a Jess Franco beard. (C) Robert Monell, 2026

18 March, 2026

LES GLOUTONNES /THE GREEDY/THE EROTIC EXPLOITS OF MACISTE IN ATLANTIS (1973)

Thanks to Mario Giguere. MACISTE ET LES GLOUTONNES/LES GLOUTONNES /THE GREEDY/LES EXPLOITS EROTIQUES DE MACISTE DANS L’ATLANTIDE (1973) Here’s an update of my previous review of LES GLOUTONNES, Jess Franco’s Z budget peplum from 1973. This and YUKA/THE LUSTFUL AMAZONS were likely shot back-to-back. They register as odd wonderments, unpretentious, no-budget fun. [Originally published by the wonderful Club Des Monstres in 2008]. Directed under his Clifford Brown beard, this is a fascinating mess due to the fact that Robert de Nesle and co. took a supposedly «serious» movie and made it into a delirious collage of peplum, adventure, comedy, erotic and fantasy patterns. It’s Wal Davis as the long haired, baby faced version of the legendary Maciste (first seen in the 1913 Italian epic, CABIRIA) vs. Robert Woods (LA COMTESSE PERVERSE) as the explorer Caronte, who bewitched by the evil sorceress Parka (Kali Hansa), attempts to overthrow and kill the Queen of Atlantis, played by Alice Arno. Maciste prevails with the help of «the gobblers», the lost women of Atlantis. Howard Vernon makes an appearance as Cagliostro (cf LA MALDICION DES FRANKENSTEIN), who along with his puckish assistant (Richard De Conninick) views the erotic adventures via a magical globe. A very interesting, eclectic score, credited to Robert Viger [?], is a bonus.
The Madeira locations are rather intoxicating, especially explored by the director’s trademark telezoom lens in the manner of the much more somber LA COMTESSE NOIRE, also shot in 1973. I conducted a still unpublished interview with actor Robet Woods about these Maciste films and he immediately indicated that they were fun to make and gave him some time to engage in fishing along the island's coastline, a relaxing indulgence of a favorite sport during production downtimes. He felt that AL OTRO LADO DEL ESPEJO was the best of his Franco films because of the quality of Emma Cohen's award winning performance in the lead role and that it gave him the chance to disply his skill on the jazz trumpet as the musician lover of Cohen's character.
There’s even a hardcore sex scene thrown in the mix, with a nude man descending a spiral staircase to spray Ms. Arno and another actress with pent up white fluid which looks like mayonnaise. Mark Forest was originally supposed to play Maciste, according to Franco, but another actor was mistakenly engaged. Davis (rn Waldemar Wohlfahrt) ending up as a goofy looking Maciste. The opening sequence of Robert Woods exploring a misty valley and the first view of the stormy coast of «Atlantis» are outstanding images, but unless you are a Franco completest you may resist the bizarre delights of this film. The emergence of a platoon of white sheeted ghouls looks like outtakes from the Spanish version of LA MALDICION DE FRANKENSTEIN.
The final battle between Maciste and Woods' Caronte takes place on what appears to be a huge sandpit filled with rocks and black stones which seem leftover from an ancient eruption on the volcanic island. It's a surreal finale which features Maciste causing an avalanche by throwing boulders into the pit. Some additional footge of Alice Arno writhing around in bed reading a book which appears to be literary iteration of the main narrative. Her scenes look like alternate footage from one of the many versions of THE HOT NIGHTS OF LINDA. Even if it was hijacked by De Nesle LES GLOUTONNES still registers as one of the director's most delirious efforts, a no-budget fantasia which draws the viewer into a strange, mythical world. Franco also made YUKA (also shot in 1973 with Davis / Wohlfahrt Waldemar and Robert Woods playing the leads), another erotic «peplum» set in the Middle Ages. Both would make a nice double bill on a High Def restoration. I could watch this film on a 20 hour loop or as an endlessly expanded termite epic. It’s an oneiric peplum which defies the familiar coordinates of time and space into a Jess Franco state of mind. (C) Robert Monell, 2026