SOLO UN ATAUD/THE ORGIES OF ORLOFF review by Nzoog

Orloff's missing link: SÓLO UN ATAÚD

Ever since Jess Franco decided to lift the name of Bela Lugosi’s surname in The Dark Eyes of London (1939) to christen his villain for The Awful Dr. Orloff (1961) probably the filmmaker’s first distinctive film, the Orloff moniker has become something of a recurring motif in Franco’s filmography, whether applied to title characters or supporting roles. In the midst of all this we find two “apocryphal” Orloff movies – with Howard Vernon in the role but not under Franco’s direction. Of these the most familiar by far is Pierre Chevalier’s Orloff and the Invisible Man (1971), which feels like a project Franco himself might have undertaken. As for Santos Alcocer’s Les orgies du Dr. Orloff (finished in 1966, released in 1969), this appears to have been seen by mighty few people. Some might regard it beforehand as a missing link in the Orloff filmography; on closer inspection, this is debatable as it inhabits quite a different world from that of Franco and even Chevalier (a contemporary British setting, in fact). And moreover, it only marginally qualifies as an Orloff film at all. The film that was screened before French patrons as Les orgies du docteur Orloff is really called Sólo un ataúd(aka El enigma del ataúd), basically a Spanish production with some French financing, written and directed by the Spaniard who was later to give us the belated Karloff vehicle Cauldron of Blood (1970) and, as based on a novel by the comic book writer Enrique Jarber, certainly not intended to link with Franco’s Orloff films. Indeed, although Vernon may be present once again in the ubiquitous Coracera castle outside Madrid, the Spanish soundtrack clearly identifies his character – not, by the way, a physician or scientist of any kind – as Dan Gaillimh. Whether this Irish surname was replaced with that of Orloff in the reportedly racier version that played in France is something I don’t know but in any case the French distributors did choose to name it “The Orgies of Doctor Orloff”. Even if not visibly inspired by anything Franco had made at the time, it may, paradoxically, have inspired Franco himself into making La noche de los asesinos (1976) the following decade as the storyline betrays a distant kinship with The Cat and the Canary. Vernon’s eccentric millionaire, diagnosed with liver cancer, invites his much-hated relatives to his sinister castle (the ubiquitous Coracera, which had also housed Vernon in The Awful Dr. Orloff) to announce that, since he has dissipated much of his fortune, his inheritors will simply share the insurance resulting from his death. Some time after Gaillimh has gone to lie in his coffin, where he is not expected to awaken, the castle guests discover that he has been stabbed in the chest. Whether this has been suicide or murder, either possibility precludes the effectiveness of the insurance and the duly heirs go out of their way to conceal the fact and hasten the burial. Soon, the castle’s remaining inhabitants become subject to various mysterious goings-on: Gaillimh is briefly seen alive by his widow; his corpse reappears mysteriously in sundry places; one of his nephews is shot dead by a mysterious hand but his body immediately disappears; the police receive anonymous calls to the effect that Gaillimh was murdered… On the whole, this is less a horror film than a mystery thriller whose talkative script is made all the more objectionable by Alcocer’s ponderous direction. The top-billed Howard Vernon is confined to a few scenes while the film itself is dominated by Danielle Godet (the scheming woman from Franco’s Devil’s Island Loversof 1974), who plays one of the few inheritors not characterised by alcoholism, by religious fanaticism (as in the case of Tota Alba’s role), some colourful neurosis or just plain malice. Most of the characters assembled, in fact, appear to be defined with some broadly stated character trait likely to make them instantly recognizable with each reappearance. Given the convolutions of the plot, maybe this is just as well. Text by Nzoog Wahrlfhehen

NIGHT OF OPEN SEX (Jess Franco, 1981)

La Noche de los Sexos Abiertos 1981 90 MINUTES Severin Films Blu-ray; King Home Video (Spain) CAST: ROBERT FOSTER, LINA ROMAY, EVA PALMER, ALBINO GRAZIANI, TONY SKIOS, JESS FRANCO =======================================

Moira (Lina Romay) is a sexy cabaret stripper by night and a secret agent by day. She is attempting to gain information on the Segunda Guerra Mundial, an international criminal group who are about to locate a hidden consignment of gold bars which was secreted beneath the desert during the last days of the Nazis. Private detective Al Crosby (Antonio Mayans) is also on the trail of the gold and teams up with Moira. Eventually, Prof. Von Klaus (Albino Graziani) provides a complex code which, when deciphered, will reveal the location. Moira is briefly captured by the opposition, tortured, and then freed by Al. They make a concerted effort to break the word puzzle, and finally succeed in locating Von Klaus's desert villa, in which there is a secret room containing the gold.

First though, the right notes have to be played on a keyboard which will electonically trigger the lock mechanism. It involves playing a segment from Liszt's LIEBESTRAUM. When Moira performs the piece, a door opens and the treasure awaits them. The idea of a musical code which contains embedded information goes all the way back to Franco's 1967 KISS ME MONSTER. Considering the fact that Jess Franco has returned to Euro-spy genre again and again throughout his career, it would seem the genre holds a special fascination for him, as well as providing the profilic director with narrative action that functions as a necessary backdrop to his trademark erotic scenes, personal touches, visual spirals, and private jokes. It is impossible to separate the sex from any generic conventions at this point in Franco's career. His later Euro-spy feature DARK MISSION (1988), offers evidence that he could leave aside the obsessive focus on eroticism and make a relatively straight commercial product, but as his more personal early 1980s Golden Film Internacional period and his recent films show Franco is at his best when he is allowed to be Franco.

LA NOCHE... opens with a deliriously filmed strip by Lina Romay, performed in the driver's seat of a classic fifties American car. This all takes place in an ultra-glitzy night spot, where the sexy action is bathed in gorgeous neon hues. Lina's gyrations, Franco's camera work and glittering lighting design seem in perfect harmony this time around, and the sequence is hypnotic. This is a visually gorgeous film about very sordid happenings. There are many elaborate strip tease interludes, references to Poe's story THE GOLD BUG, double crosses, torture sessions (one outrageously borders on a hardcore level of sado-erotic intensity), exotic locales in Las Palmas and Alicante, a hilarious cameo by Franco and Lina Romay has never looked more sexy. She also proves to be a capable comedienne at the center of this frenetic action painting which Franco has composed. (C)Robert Monell 2024

Jess Franco composites: UNE CAGE DOREE/RAZZIA SUR LE PLAISIR ; DE SADE'S JULIETTE/JUSTINE

Uli There is very little general agreement on both the quality and quantity of the massive filmography of the late Spanish filmmaker Jess Franco. Did he direct 199 feature films, or was it 161, or maybe 180? His film career started in the mid 1950s with work in short films, screenwriter, composer, assistant director. His feature film career ran from 1959 to 2013. He died in the midst of making one final film, REVENGE OF THE ALLIGATOR LADIES. A unapologetic workaholic Franco also left behind a portfolio of incomplete films and unrealized projects. We'll be considering two composite films in which several of his films were composited by another director, JUSTINE (1979) without his involvement, UNE CAGE DOREE, a 1975 sexploitation film in which he directed several scenes but had no involvement with the post-production or overall planning. JUSTINE is perhaps the more egregious. Italian producer-directed Joe D'Amato simply took three of his 1970s film and cut them together with a new narration and music track. This 1979 composite, as supervised by Italian porn king D'Amato [rn: Aristide Massaccesi], is a pretty delirious hot mess. D'Amato cut Jess Franco's DE SADE"S JULIETTE/JULIETTA 69 (1975), a hardcore starring Alain Petit and Lina Romay, into shreds and then inserted scenes from two other 1975 Franco productions, MIDNIGHT PARTY and SHINING SEX, the former a comedy, the latter a sci-fi tinged erotic fantasy. He then rescored the newly christened Frankenstein monster of a film with cues written by frequent musical collaborator, Nico Fidenco. This doesn't make it any more of a "Joe D'Amato" film and robs it of much of it's identity as a Jess Franco film. The most familiar Fidenco cue is one of the themes for the EMANUELLE IN AMERICA music track.

JUSTINE opens crediting Alice Arno as the lead actress. The fact that she's not in the film and she's not in any of the three composited Franco film illustrates just how off D'Amato and co. were from what they were dealing with. A rock band fronted by "Chris" (Alain Petit) is playing in a crowded club, totally out of sync with the Fidenco replacement score. This was actually a scene from Franco's MIDNIGHT PARTY (1975), in which Petit plays a long-haired musician who is also an enthusiastic Communist at odds with the shady character played by Olivier Mathot, who is also a lover of Petit's character's girlfriend. The song they perform in MIDNIGHT PARTY is a composition by Petit titled "Life is Shit".