
29 April, 2025
Jess Franco Europsy Files # 69
29 April, 2025
I love costumed superhero films (especially with spy and science fiction twists) from the 1960s from Gianfranco Parolini's THREE FANTASTIC SUPERMEN to the Japanese giant, ULTRAMAN. Jess Franco's 1967 Eurospy spoof LUCKY, EL INTREPIDO featuring Ray Danton (along with Jess Franco in two amusing cameos). Beside the non-stop quips, delivered in high style by Danton, the element I like most in LUCKY is the typically quirky, high-spirited Bruno Nicolai score (see if you can find it on CD). The main theme, with its crazy vocals and thumping two note refrain is great fun and I never get tired of revisiting it.
Preceded by the frenetic, some might say silly, monochrome spoof, ATTACK OF THE ROBOTS, Franco's second Al Pereira feature, and the somber, underestimated RESEDENCIA PARA ESPIAS, LUCKY is stuffed with visual and verbal gags, and the secret agent protagonist seems in on the joke this time, whereas Eddie Constantine/the characters he plays in ATTACK... and RESDENCIA... seemes baffled by the action and ambiguity surrounding him. Constantine does well with double takes in ATTACK but seems less comfortable with the numerous pratfalls, including the final backward fall off of small fishing boat which ends the film. Godard keeps him straight and sober throughout ALPHAVILLE, except for a few bursts in sudden laughter. When you're a spy in a dystopia you don't have much to smile about.
Franco's first Eurospy thriller, DEATH WHISTLES THE BLUES (1962), is an immersion into a jazz milieu in which the director himself plays the saxophone with the Whisky Jazz band. The nightclub is the site where the musical code, Terrado Blues, is transmitted to those in the know, first by Julius Smith and then by Moira Santos (Danick Pattison), the latter on a secret mission of vengeance. Betrayal of friendship here, as in RESIDENCIA PARA ESPIAS, trumps betrayal of country. The spy spoof sub genre would be a default which Franco would employ into such 1980s efforts as UNA RAJITA PARA DOS (within a hardcore context), SANGRE EN MIS ZAPATOS (1983) and
CUANTO COBRA UN ESPIAS? (1984).
Franco himself appears as a spymaster, Agent 008/Radeck, in the minimalist 1975 spy spoof MIDNIGHT PARTY aka LA COCCOLONA/LADY PORNO, who directs the torture of kidnapped stripper Lina Romay by Monica Swinn and Ramon Ardid. Shot in several hotel rooms at Le Grande Motte, the film is so threadbare that the fact that it's also interactive, at least in it's complete 90 minute version, that the fact that both Romay and Franco break the fourth wall and speak directly to the viewer becomes its most interesting aspect. One can imagine Franco writing down the synopsis on a napkin during a meal at the casino. It opens with the stripteaser Sylvia rolling around naked and taunting the viewer and ends, after interruptions by her hippie boyfriend (Alain Petit) and Franco's favorite detective Al Pereira (Olivier Mathot), with Agent 008 taking off his glasses, turning to camera, and informing the viewer that he is not a spy, but merely an actor in a film.
LADY PORNO [Porno Dama], a Spanish variant of Franco’s original MIDNIGHT PARTY. Julio Perez Tabernero, an actor turned producer-director (he can be seen in Franco’s own SADISTEROTICA/Two Undercover Angels), acquired it for his Titanic Films company (Julio, your company needs a new handle!) and reconstructed it as an «American-Belgian» co-production. It’s very amusingly redubbed and rescored with lewd comments, bawdy music and more direct-to-the-viewer takes.
Sylvia is a very hot stripper who is introduced dancing in a glittering silver costume. Off stage she carries on an affair with a cheap detective, Al Pereira (Olivier Mathot) behind the back of her longtime squeeze Red Nicholas, a Communist musician frenetically embodied by French film historian and Jess Franco friend, Alain Petit . This is not really another of Franco’s Al Pereira episodes, as he is mainly a player in Sylvia’s story. This is kind of like a live action cartoon (cf LUCKY, THE INSCRUTABLE) with Lina Romay giving it all she has as the resourceful Sylvia. This might actually be my personal favorite of her performances, she mercilessly teases the viewer directly as the interactive approach allows her to pose, stick her tongue out, and make alluring remarks to the audience before turning back to the scene and players at hand, resuming in the traditional fourth wall mode. It’s a lot of good natured fun. Except that the subject is torture. Torture that doesn’t draw blood but really hurts!
Sylvia is taken by Radeck/Agent 008 (Jess Franco himself), a spymaster and professional torture mogul who takes his business very seriously indeed. Look at the way he abuses poor Sylvia: after being stripped and sexually abused by henchmen Monica Swinn and Ramon, she’s poked, punched and cigarette burned by the ingrates under the very close supervision of Radeck. They take her to the «torture clinic» which, this being a Jess Franco shoot, merely means another hotel room (or the same hotel room slightly redressed and shot from a different angle). Choosing pliers they try pulling out her toenails, as Radeck is beginning to lose his patience. At this point one of my favorite moments in Franco’s monumental filmography occurs, and it only last a few seconds–Radeck simply puts a cigarette in his mouth and lights it. That’s it! The exact way which actor Jess Franco suddenly jabs the cigarette into his mouth and fires it up has to be experienced first hand. It’s a grand bit a business, something small made into something very special by a seasoned professional. It will bring a smile to the face of all Franco enthusiasts.
Franco drops the Radeck pose at the end, as Sylvia and Al are escaping he faces the camera and admits to us that it was all an illusion, only a movie. It is Jess Franco talking to us now. We have been spectators. But what are we doing at this venue? Of course, that question is implied rather than asked. Alain Petit is very droll as the Marxist jazz singer. Billed as «Charlie Christian» (cf JUSTINE, the 1979-80 Joe D’Amato composite where he is likewise billed. His footage in that and MIDNIGHT PARTY is rolled over with scenes from SHINING SEX into a unique reedit) he performs his infamous «La Vie est une Merde», also heard in a blues rendition during Franco’s 1982 EMMANUELLE EXPOSED and in Petit’s documentary THE MAKING OF TENDER FLESH (1997). The Spanish language version which was screened for this review (subtitled in English) is very much in keeping with the joker/trickster impulses which frequently bubble to the surface of Franco’s work. The finale, a shootout with the cops (a minimalist debacle) followed by shots of birds flying in the distance as our couple floats away on a pleasure craft, is post-ironic in the sense that it delivers on expectations which Franco obviously considers bogus while gleefully curving past the generic demands of representational, grade B sexploitation production methodology. In other words: don’t worry, be happy, it’s only a movie.
Tabernero seems to have simply reedited, cut down, dubbed/ rescored the director’s cut. There is also the 90m THE MIDNIGHT PARTY, in English, which may be the best way to ascertain the director’s intent since it includes the interactive opening in which Lina Romay frolics on a queen size bed while she lasciviously addresses the viewer. The longer version does stretch the very broad humor to its absolute limits. But at least it never crosses over into hardcore terrain.
The gangling Tabernero can be seeAn as a supporting plalyer in such 1960s Eurowesterns as FURY OF THE APACHES (1964), SEVEN GUNS FOR THE MACKENNAS(1965) and in Eurospy titles such as RIFIFI IN AMSTERDAM (1966) as well as in his own SEXY CAT (1972), his best film as a director , a highly entertaining Spanish giallo done in the style of cine-comic strip complete with a black clad villain who kills with long, razor ship fingernails a la Franco’s MISS MUERTE (1965). Private Investigator Al Pereira would appear in more Jess Franco directed features, including his final completed film, AL PEREIRA VS. THE ALLIGATOR LADIES, his ultimate interactive experiment, with the director himself placed at the center of the action.
An equally interactive spy spoof, LES GRANDES EMMERDEUSES (1974), is even more outrageously outre, opening with Lina Romay and Pamela Standford (Monique Delauney) romping around totally naked on queen sized beds in some hotel room, identifying themselves as Interpol agents. Franco's obsession with the "Red Lips", a team of sexy female detectives/secret agents goes all the way back to his second feature film, LABIOS ROJOS (1960). Here they're no longer identified as the Red Lips and they are involved in criminal smuggling of diamonds (guess where they hide them) as they encounter other smugglers, a mad scientist and a grotesque, hairy creature called the Durenstein monster. Filmed in Paris and Portugal, standing in for Istanbul, it's all good fun with Franco returning as another spy master.
There are even spy movie references in the 1980 surreal sex comedy EL SEXO ESTA LOCO, in which sex club performer Lina Romay is questioned about missing plans for an "air-submarine" (a reference to Ishiro Honda's 1963 ATRAGON?). Spy movie formats continue in the Franco-verse with CUANTO COBRA UN ESPIA? (1984) and several supposed Edgar Wallace adaptations including SANGRE EN MIS ZAPATOS (1983) and VIAJE A BANGKOK ATAUD INCLUIDO (1985), along with his straight and sober DARK MISSION (OPERACION COCAINA) (1987), the later starring Christoper Lee, Brigitte Lahie and Chris Mitchum as a CIA agent. I'll be discussing these in a future blog, along with the 1970 THE DEVIL CAME FROM AKASAVA, starring Soledad Miranda as a secret agent in her final film before her untimely death.
(C) Robert Monell 2025
24 March, 2025
PHOLLASTIA (1987) (original title) Phollastía France Fellations sauvages(new title) Spain Phollastía
Directed by "Betty Carter" [Jess Franco & Lina Romay]/Screenplay by Chuck Evans [Jess Franco], Lulu Lavere [Lina Romay]/DP: Terry De Corsia [Jess Franco]/Music: Daniel J. White/Editor: Jess Franco/83m 15s/Video: Fil a' Films [France]
Additional cast: Carlos Quiroga, Bruce Leduc-rn A. Bartolos Velasco, Rex Robinson-rn C. Gonzalez Ordi, Traci King-rn Elisa Mateo, John Olms-rn Saez Montoro. [Credits from OBSESSION: THE FILMS OF JESS FRANCO which also lists an alternate French video title, Fellations Sauvages]
Produced by "Phalos Films", Madrid, this is rather upscale for a Jess Franco hardcore. Hiring a cast of experienced Spanish hardcore professionals and featuring some gleaming, mirrored sets, this shot-in-Benidorm sex comedy parody of the 1980s ABC primetime soap opera, DYNASTY (1981-1989), has some interesting images and is staged with the kind of care a slightly more than average budget allow
The Carrington family, including the cheating husband Blake and his scheming wife, are at odds over cosmetic expenditures. In the meantime their dysfunctional spawn go their own sex soaked ways. It's wall-to-wall hardcore orgies of handjobs, blowjobs, group sex and more sex. Franco pulls his camera back more than usual but some of the clever verbal puns were lost on me since my French is nil and I only had access to a poor dub of the ancient French video.
It all suggests that by the late 1980s the hardcore novelty was beginning to wear on Spanish clientele as well as Jess Franco.
Sarcastically referencing DYNASTY's Joan Collins, Lina Romay isbilled as "Jean Collins" and along with Jose Miguel Garcia Marfa (EL MIRON Y LA EXHIBICIONISTA-1985) are the only faces familiar to me in this show. But this is a film not really interested in..... faces. The costumes look surprising upscale given the genre. Apparently, the money spent on the cast and production made sure that it wasn't profitable after the box-office was exhausted.*
Treating this as a full feature production with a higher budget and pro porn players to be paid backfired on Franco according to Antonio Mayans, who declined to be in this film and FALOCREST, another hardcore parody shot back-to-back in Benidorm, but acted as the film's sales agent in the Barcelona market. According to Mayans, in an interview in the defunct FRANCOMANIA WEBSITE, "I wasn't around when Jess made them. He went to Benidorm and shot them there. It's different if you happen to be making a movie and - say, after lunch - you start filming a little porn film as well with the same available technicians, the same available actresses. It's a matter of shooting some porn footage, editing it and then selling iit. Fernando Vidal would put up some money and then he'd do the selling. But to go to Benidorm to make two porn movies, with people, with the structure of a real movie - that simply doesn't work out and I told him."**
Also, Franco scholar Francesco Cesari points out that Follar in Spanish = "to fuck" and the Ph, as in Phollastia = F. Yet another subterranean Jess Franco linguistic "joke" buried beneath the layers of hardcore action.
Speaking of linguistic jokes and references, PHOLLASTIA and other 1980s Franco hardcores can be considered the director's own Lingua Franco. A lingua franca, also known as a bridge language, common language, trade language, auxiliary language, link language or language of wider communication here takes the form of films which are often classified and rejected by Franco critics as only ways open to the director to remain active and generate income. But being a director who imbues everything he films with his own personal magic one has to look at them and scrutinize them as "Jess Franco" films, projects which did indeed generate income and did keep him active while forcing him to translate his visions and obsessions into the language and structures of commercial pornography. The orthological games, the ditzy (even for Franco) photography, the frenetic attempts at Bunuel type comedy, The Discreet Charm of the Bourgeiosie meets DYNASTY or FALCON CREST, all exmplify this.
*Spanish ticket sales amounted to 29,693, not enough to show a real profit after productions costs are factored into the equation. [Thanks to Francesco Cesari]
** Thanks to Nzoog for the translation of this interview, conducted by "Chus" and "Al Pereira"
Reference print: XHAMSTER video
This is part of a continuing series on Jess Franco's 1980s hardcore record. FALOCREST (1987), made at the same time and on the same locations as this film, will be covered next.
(C)Robert Monell 2025
06 March, 2025
LA CRIPTA DE LAS CONDENADAS-- Jess Franco, 2012
LA CRIPTA DE LAS CONDENADAS
LA CRIPTA DE LOS CONDENADAS (2012)
When I interviewed Jess Franco in 2005 he described this video project as being inspired by the writing of Nathaniel Hawthorne and was to be titled THE HOUSE NEXT TO THE CEMETERY. It obviously evolved unyil it finally appeared on Spanish DVD* as LA CRIPTA DE LOS CONDENADOS. Here is an except from Alex Mendibil’s essay on the film, written in 2008, which appears in another blog post here. It also appears in Alain Petit’s essential critical study: Ou les prospérités du bis.
“The 80's Golden Films productions showed how the Franco universe could rid itself of some of its essential elements without losing
its essence. In films such as MACUMBA SEXUAL (1981) or EL SINIESTRO DR. ORLOFF (1982), we deal with familiar themes and classic
gothic characters like the vampire or the mad scientist but without all the acting, set-ups or typical wardrobes. Castles, candles,
crucifixes, cemeteries and sci-fi lab equipment were replaced by extravagant beach houses, fashionable clothing and everyday
objects. The result was disconcerting, but somehow managed to articulate a less figurative and more abstract language in which the
renewed versions of Orloff, Al Pereira, Radek or Red Lips still made sense. With the shift to video in the late 90's, the
destruction of the traditional cinematic codes was definitive: no set-ups at all or overtly fake sets, natural lighting, direct
sound, video distortion effects, and above all, non-professional actors hamming it up or, on the other hand, a very naturalistic,
almost cinéma vérité feel. Any device used to maintain the illusion of cinema is removed or deformed to the point of parody, as if
Franco wanted to emphasize the death of that former cinema and suggest an unrepresentative cinema, a cinema abstract (*), if you
will.
In LA CRIPTA DE LAS MUJERES MALDITAS, the rupture with mainstream cinema is complete. The film takes place in closed-off rooms,
half-empty and white, and the only things we are allowed to see are a few looped images of a cemetery, and the blurred image of an
angel shaped statue that illustrates the final battle against the cursed women. We know about that battle only through the voice-
over since the images are only abstract and difficult to decipher at times. Adding to all of the above (lack of set-ups, costumes,
performances, video effects, etc), Franco finally gets rid of the last two pillars of classic cinema: the director and the
screenplay. As stated above, this is a story without story but Jess Franco goes even further and invents a funny trick to show that
he too disappears from the set, letting the characters shoot the film with video cameras and, thanks to some strategically placed
mirrors, discovering that nobody is directing them on the set.
Fata Morgana, the real protagonist of the film, assistant director and cinematographer, directs the film literally in front of our
eyes, shooting it while playing one of the cursed women at the same time. Nothing is hidden, everything is shown: lightning,
cables, the boom mic and even the back of the camera. It is not a video documentary, no video-creation, no experimental video, it
is something that still has no name. The only overbearance to the genre resembles a William Castle-style joke: at the half point,
there is a "To be continued…" title card, then a fade to black, and then the movie starts up again with a “Part 2” title card on
screen. According to Jess Franco, this is his own version of the double-bill features in the GRINDHOUSE (2007) style.
Despite being shot on video, SNAKEWOMAN was an exception to this trend since it was made following the traditional cinematic
standards.
Alex Mendibil (2008)
Dr. Mendibil’s observations are well taken in this context. Some may see the film as a plotless porn epic wallowing in nudity and lesbian sexual activity. Franco has gotten to the point here where plot is of no interest, as his article points out, there is only a seemingly eternal present. This seemingly eternal present is populated by several nude women, some seen via carefully placed mirrors, taping the action/non-action with cameras. As Mendibil notes, plot is irrelevant here, as is the concept of director. The performers are the directors, the auteurs, a concept which will be unsettling to some viewers and critics. One immediately thinks of Warhol’s experimental features of the mid 1960s, or the jarring moments of naked human interaction in various films of John Cassavettes. But Franco goes even further, there are no dialogues here, no tortured monologues or confrontations as in the cinema of Cassavettes.
Here is what I thought of the film in 2015. Since then my thoughts have evolved: "Bless you, tremulous, throbbing flesh» a female narrator intones over a sensual interlude between several women in a room flushed with orange light. Yes, we are in the realm of Jess Franco and this is just one interlude in a two part 150 minute epic poem of joyous, mysterious, interactive, nonstop sensuality and erotic sensation. One doesn’t want to call it Sex, at least not of the traditional sort. It’s more a display of erotic signs and motifs in the cinema. Once again, as Mendibil points out, there are no "performances", no male authoritarian director and no screenplay outside of a general outline or notes Franco may have used as a starting point. It's something unnamable and might be titled, apologies to Samuel Beckett and HP Lovecraft, The Unnamable. As I wrote in my infamous review of Franco's following film, AL PEREIRA VS THE ALLIGATOR LADIES, it's an anti-masterpiece of anti-cinema. It occupies a space between eroticism and pornography, without being particularly erotic and not including hardcore footage. We watch the film as it watches us.
A nude actress points a video camera at the camera shooting the scene, breaking through the «fourth wall» of cinema. The group of Sapphic lovers often look at the camera, the viewer, who becomes part of the «action» or matrix of figures pleasuring each other in a no-budget labyrinth of mirrors, wicker chairs and television monitors on which the encounters are caught from other angles and reflected in strategically placed mirrors. One is reminded of Dr. Jacques Lacan's famous mirror stage.
The interiors are obviously someone’s (Franco's?) apartment in Malaga, but it represents the crypt of our Lesbos lovers obsessively, and with obvious joy, loving each other in lieu of the Exterminating Angel (Bunuel’s?) who will arrive for the judgement which makes up LA CRIPTA DE LAS CONDENADAS II. LA CRIPTA... is illustrated by the music of Bach, Hindemith, Ravel and Stan Kenton. Additional music by Daniel J. White. Originally scored and edited as films made in 2007 and screened at the 2008 Cinematheque Francais Jess Franco retrospective under the title A BAD DAY AT THE CEMETERY aka La Cripta de las mujeres malditas, an earlier two part version with somewhat different music and editing. It should be noted that this experimental epic, which uses the erotic cinema format as a commercial handle, is as obsessively personal and unapologetically expansive as the cinema of 1960s LBGT auteur Jack Smith (Flaming Creatures), more New York Underground than Los Angeles porn. A totally immersive experience which imposes alternate spatial-temporal coordinates on the viewer. There is no There there, as Gertrude Stein famously wrote of a storied city.
Now available on 2 DVDs with English, French, Italian and German subtitle options. Bonus features include a Jess Franco interview, 3 short films including Lina Romay tras la camara and more. PAL, will play ALL REGIONS. Widescreen Anamorphic 1.78:1/Audio DD 2.0 Spanish. From VIAL OF DELICATESSENS. http://www.vialofdelicatessens.blogspot.com.es"
But that was then. This is now, 2025, and I have watched the film a number of times since finding further layers in a film which at first seem no deeper than the tender flesh of its actresses. The action, or non-action, unfolds in a timeless place, several rooms with shag carpeted floors and fitted with numerous mirrors and several television monitors. Time has stopped. The 150m runtime of both parts could take place in a split second or over a long night or a thousand and one nights. Aside for the opening shot of a large rock being battered by the surrounding sea and several shots of a generic cemetery exterior, the actresses are trapped (or liberated) in a hermetically sealed space, represented perhaps by the director's apartment. There is very little movement by players. It is like watching the gradual melting of a long frozen world.
Although it is a plotless, non linear, non representational film there is a narrative spoken by a male narrator on the soundtrack. The narrator is the only male actor in the film. The narative will be familiar from Franco's 1967 masterpiece NECRONOMICON/SUCCUBUS, where it is told to the female lead Lorna by the character played by Jack Taylor, her lover and ultimate victim. The narrative tells of a wealthy prince who marries a beautiful young woman who has no memory of her past. After a year of being happily married the wife stabs her husband to death in a garden. When the dying prince asks her why she has done this his wife speaks of a castle in the depths of Hell. Although the story pertains to the characters and narrative of that film it is heard several times in La Cripta... as kind of a counterpoint/backstory to the action, adding another layer of context to the matrix. It is crucial to remember that the 1967 NECRONOMICON became the way in which Franco escaped the prison of being a commercial director operating within the boundaries of 1960s Spanish cinema and its censorship. It garnered the positive attention of Fritz Lang, AIP Pictures and, most importantly, producer-writer Happy Alan Towers who would contract Franco to direct a series of international co-productions for the next several years. These co-productions would give him access to such world renowned actors as Christopher Lee, Jack Palance, Klaus Kinski and take him to such locations as Brazil and Istanbul with larger budgets and resources never before available to him. NECRONOMICON resulted in a paradigm shift in his life and career and LA CRIPTA... executes another paradigm shift, albeit one at the very end of his career. It's very instructive to watch both films back to back for these reasons. La Cripta, however has never gained a wide release out of showing at the Cinemateque Francaise retrospective and a limited edition Spanish DVD. What we are left with is something without a comfortable focal plane, no breakaway scenes, no compass to guide us, there is only the fascinating X ray of what was once the cinema of Jess Franco.
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