THE DEVIL CAME FROM AKASAVA (1970): Franco's Edgar Wallace Files.

Directed by Jess Franco. Screnplay: Ladolos Fodor With Soledad Miranda, Fred Williams, Jess Franco, Howard Vernon. A Spanish-West German co-production. Available from IMAGE DVD.

My initial reaction to this 1970 film was negative. I have since reevaluated it. I first experienced it as totally inept rush-job, a belated cash-in on the Edgar Wallace franchise. It was, sadly, Franco's last collaboration with the legendary Soledad Miranda. She would die in a car accident shortly after the completion of this supposed Edgar Wallace adaptation. The plot evokes some of the later Edgar Wallace films from Germany as the series was on a downward spiral, generic eurospy cliches strung end to end with the only interesting aspect being Miranda's participation. A more interesting was to view it as a "Jess Franco" iteration of pulp material. I haven't read the Wallace novel which I understand is quite different than the film. British Agent Jane Morgan (Miranda) joins forces with a Scotland Yard investigator (Fred Williams) to locate a stolen mineral which has the capacity to transform base metal into gold. The downside is that it emits rays which turn all those who come into contact with it into mindless zombies.

After a trip to the tropical country of Akasava, where the stone was discovered, the agents discover two eminent physicians (well played by Franco regulars Paul Muller and Horst Tappert) have secured the element and are planning to sell it to a corrupt philanthropist. The men are murdered by a counteragent (Howard Vernon), who is blown up along with the stone in a plane crash while attempting to flee the country. It's obviously from the opening, a flurry of zoom shots in and out of a flock of flamingos in a tropical grotto, that Franco is more interested in the environment than plot. The seemingly compulsive use of zoom shots would continue until the end of the film. Would another director have suddenly panned away from the action to zoom up to the tops of the local palm trees? The point is this is a Jess Franco film. He's shouting at us to look up to something were taking for granted, those towering palms. He's in full tourist guide mode here. Or is it his way of adding production value? CCC Executive Producer was notably penny pinching with production funds.

and the viewer is the tourist. Miranda's participation in this enterprise is highly erratic — she pops in and out of the story and her main role is to provide a romantic interest for the hero, indifferently played by German actor Fred Williams, a handsome, rather dull performer, who spends most of the film limping around in a debilitating leg cast and crutches. He has a winning smile and an easy going persona but never manages to engage with the other actors or his role. He may as well been playing a waiter. Miranda doesn't really get a chance to project the obsessed sensuality which burned up the screen in her stunning turns in VAMPYROS LESBOS and EUGENIE DE SADE (both 1970). She does get to perform some abstract strip teases during which she barely moves and doesn't even remove any clothing. No strip and a lot of tease, which might leave her fans feeling somewhat disappointed and ripped off. However, I found this miminalist "dancing" rather erotic. It's more erotic posing than actual dancing. Acting wise, she is simply miscast in a role any actress could have done, and she never turns on that mysterious aura of narcotic eroticism which surrounds her most indelible performances. Howard Vernon, Horst Tappert, Paul Muller and Franco himself appear in supporting roles and lighten up the proceedings with some humorous asides. The film does lack the esoteric qualities of Franco's earlier collaborations with Miranda. One can only imagine what her career would have been like if she had lived past the age of 27. Shortly after she completed shooting she would die in a tragic car accident while on the way to sign a lucrative contact with the German movie mogul and co-producer of this film, Artur Brauner.

What saved the film for me were the whirlwind vocal and brass score by Manfred Hubler and Siegfried Schwab (available on CD) and Franco's frenetic camera style and pacing. The director really goes over the top with the zoom lens here (as many critics have complained), moving in and out of the action (or non-action) or suddenly zooming up to the top of palm trees and back down again for no particular reason. These rather desperate directorial moves become kind of amusing to watch for the sheer unpredictabilty of what Franco is going to focus (or unfocus) on next. The wild camera work is accenuated by the fast paced editing (unusual in a Franco film from this period) and heady music. Franco obviously knew he was involved in a lost cause and at least produced film with a few of his personal touches, a Eurospy quickie which his longtime fans can laugh at while regretting the fate of the doomed Miranda. Perhaps the surface banality of the adventure/mystery plot is due to the fact that the screenplay is credited to Hungarian novelist and screenwriter Ladislas Fodor, a reliable Artur Brauner hack who wrote scripts for numerous Brauner productions including Krimis THE PHANTOM OF SOHO, Dr. Mabuse mysteries, THE RETURN OF DR. MABUSE, DR. MABUSE VS SCOTLAND YARD and even to manage to pem a John Wayne adventure, NORTH TO ALASKA (1960) and the 1968 Orson Welles historical epic THE LAST ROMAN, the final film of 1940s Film Noir ace Robert Siodmak. There is little character developement, literate dialogue or plot intrigue in Fodor's movie portfolio.

************************************************************************************************************************* Franco would return to the world of Edgar Wallace in the 1980s with two questionable "adaptations." VAIJE A BANGKOK: ATAUD INCLUIDO is a rarely seen spy adventure set in the Far East. The most memorable scenes invlove some of Asian cult seen through Asian pottery, curtains and smoke and mirrors. A closer looks reveals an uncredited source, Franco's own 1966 Eurospy epic starring Eddie Contantine, ATTACK OF THE ROBOTS. Despite a lackluster performance by can't be bothered Constantine that black and white Eurospy epic did have some good scenes detailing the creation of human cyborgs in a giant test tube (see Below).

Produced by Jess Franco/Manacoa Films--Directed by Jess Franco--Screenplay by David Khunne (Jess Franco), based on a novel by Edgar Wallace--DP: Joan Soler/Juan Soler Cozar--Music: Dennis Farnon/Jess Franco (Ed. Harmony, Madrid)--Asst. Dir: Rosa Maria Almirall (Lina Romay), Carlos Aguilar-- Editor: Rosa Maria Almirall (Lina Romay)--Art. Dir: Carlos Spitzer--Ma: Juana de la Morena--Production Asst: Angel Oriales, Enrique Diaz--Prod. Mgr: J. Antonio Mayans--92m. Eastmancolor. Widescreen. Locations: Alicante, Canary Islands. Spain. 1985. Based on "novel" by Edgar Wallace... But what novel or story? A brainwashed assassin breaks into a diplomatic reception, cuts the throat of the British Ambassador and is quickly shot down. The aging but still sharp M1 agent, Colonel Daniel J. Blimp (Howard Vernon) arrives to conduct an inquiry. He is joined the a younger, brash Australian agent, Philip Sanders (Jose Llamas) and the victim's daughter (Helena Garret)  in uncovering a strange cult under the mental domination of the blind Professor Tao (Albino Graziani). More terrorist style murders of political figures occur but Blimp's trusty cane and trick tobacco pouch save the day, along with bursts of machine gun fire directed by the young Sanders. Basado en la novela de Edgar Wallace according to the poster, this is actually an on-the-fly remake of CARTES SUR TABLE (1966), with Howard Vernon playing the Eddie Constantine role. Without sex, nudity or significant action scenes this looks like a by the numbers reboot of an earlier low-budget film on an even slimmer contract which doesn't have a significant female foil like Francoise Brion or Sophie Hardy in the template. Like CARTES SUR TABLE it's an uneasy, highly personal blend of rushed looking action scenes, Jess Franco in-jokes (the Ambassador is named after the editor of several Harry Alan Towers-JF collaborations), but the Romantic intrigue just isn't there nor are the charmingly dog eared scrap ups. What is here are some strikingly composed sequences set in the hidden lair of the "cult of ultimate knowledge" executed by mere clever placement of a few vases, geometric blocking along with typical Jess Franco smoke and mirrors effects. The "robots" look more than mid 1980s lounge lizards than Manchurian Candidates. The robot killers are controlled by a sinister cult. Jess Franco has a throwaway cameo as a hotel clerk.

Spanish film historian Carlos Aguilar, who would eventually write several books on the director, was assistant director, and appears in a small role as the hotel clerk. The name of Sanders appears to be the main element taken from the work of Edgar Wallace. Jess Franco, looking somewhat bored, appears as an inquisitive hotel agent. Nevertheless, it's a sometimes fun trifle, features some amusingly inept Kung Fu interludes and German actor Christian Bork (Bork Gordon) from the somewhat similar Golden Films Internacional no-budget action epic BANGKOK, CITA CON LA MUERTE(1985), which was made in an overlap with this film according to the director* Actually, the best shot in the film is in the first scene where the diplomatic reception is reflected in the sunglasses of the robot-assassin who is lurking in the night just outside the window.  Jess Franco, when up against it, is sometimes better at making scattered memorable images like this than he is at writing original stories or compelling characters, but he obviously was more concerned this time in making yet another film and moving on to the next. The secret code of Jess Franco lives on in even obscure commercial knocks offs. The director would return to hardcore in 1985-1987, with such tiles as EL MIRON Y EL EXCIBICIONISTA, EL OJETE DE LULU and ENTRE PITOS ANDA EL JUEGO. This film was preceded by the 1983 SANGRE EN MIS ZAPATOS, a fast-paced actioner supposedly based on Edgar Wallace's SANDERS COME FROM THE RIVER [!], a book I have never read, so I can't testify to its faithfulness to the credited source. This one features Howard Vernon as an absconding Soviet scientist who has fled his homeland with a high-tech nuclear homing device. An International espionage would be thriller which has numerous amusing scenes involving a duo of agents played by Antonio Mayans and Lina Romay. It all ends with a NORTH BY NORTHWEST style air to ground pursuit where the couple are bombed by an airborne menace. An unusual and very welcome action-adventure turn by the director, with a lot of subversive humor, personal touchstones and a musical code. Released on Spanish video-Basic Home Video S.A., according to OBSESSION THE FILMS OF JESS FRANCO. This film also had Internet broadcast on a Spanish site some time ago and looked to be in good shape.

(C) Robert Monell, 2025

BLOOD ON MY SHOES (SANGRE EN MIS ZAPATOS) Jess Franco, 1983

Prof. Albert Von Klaus (Howard Vernon), recently escaped from the Soviet Union, has developed a blueprint for a ICBM which could be targeted at the United States. Secret Agent Carlos Rivas (Antonio Mayans) attempts to foil the Professor's plan to supply it to Russia and, with the help of frisky night club singer Lina Romay, turn it over to American military instead. This rather generic plot is supposedly based, evidenced by the Spanish poster, on Edgar Wallace's SANDERS COME FROM THE RIVER. Not having read that novel I cannot confirm or deny any influence. The fact of the matter is that it's a rather light hearted blend of Eurospy adventure and generic satire, Jess Franco style. It mostly is set within the confines of a few suites and the music lounge of a not exactly luxurious hotel in Alicante. Or is it Benidorm? It remains uncertain since production was obviously done in both cities, with maybe some detours to Calpe.

The presence of Argentine born Daniel Katz as a malcious counter agent adds to the suspense, and sometimes the slapstick comedy, if not to the versilmultitude. The luminous cinematography of Juan Cozar is also a plus and he also apppears as a sometwhat bumbling comrade of Rivas. Actually this is kind of a primer for the 1984 spy comedy CUANTO COBRA UN ESPIA?, which also features camera work by Cozar as a composer of musical encoded military formula. That title appears rather toothless in comparison to SANGRE... which at least has a few impressive set pieces. Impressive by Franco standards, that is. A sequence set at an outdoor carnivals where Rivas has a life and death struggle with a counter agent atop of ferris wheel could almost be described as Hitchcockian, abeit on a Franco scale. Lina Romay also has an impressive musical interlude as she leads a sing-along on her Korg of a popular song. All these inclusion of musical codes go all the way back to the 1968 KISS ME MONSTER and were further ultilized in the visually dazzling, sado-erotic 1981 spy thriller LA NOCHE DE LOS SEXOS ABIERTOS.

Equally Hitchcock-like is the climactic scene where Katz pilots of small aircraft which bombards the fleeing Rivas and singer with high explosives. One thinks of the the crop dusting sequence in NORTH BY NORTHWEST, which I discussed about 10 years ago on my much missed Madrid podcast with Elena. It's obvious that Franco was having a lot of fun with this shoot. If the film lacks the sometimes atmospheric delirium of Franco's other mid 1980's Edgar Wallace epic, VIAJE A BANGKOK ATUAD INCLUIDO (1985), another comedic Wallace "adaptation", featuring Howard Vernon as Col. Blimp, an eccentric agent sent to the Far East to battle more counter agents who are involved in an assassination spree of A class diplomats in a plot based on Franco's 1966 CARTES SUR TABLE. This film however is much more visually interesting in its use of reflective surfaces along with smoke and mirrors in its representation of a sinister murder sect. Franco does have a tendency to repeat his scenarios, though sometimes with fascinating and layered results. Thanks to Nzoog.

For further discussion of Franco's ongoing use of musical, visual and literary codes see my essay THE SECRET CODES OF JESS FRANCO in Nocturno Magazine #60, Anno XII, Luglio 2007. (C) Robert Monell, 2025