Quantcast
Channel: A Wasted Life
Viewing all 700 articles
Browse latest View live

R.I.P.: Janine Reynaud, Part I, 1965-68

$
0
0

13 August 1930 - 30 January 2018

Last week Boot Hillannounced the death of cult actress Janine Reynaud, a surprise to us here at A Wasted Life because we had assumed that she went to make bad films in the sky decades ago. But no, instead she passed away at the age of 87 on 30 January 2018without notice or fanfare. How, we wonder, could that be? (Probably because when she went into retirement in 1978, she really retired.) 
True, she was no great actress, and in appearance was somewhat reminiscent of Amanda Learbut with worse skin, but especially as of 1968 she did make a variety of films worth watching, even if they haven't all aged that well. And that's why, though she is long gone, we here at A Wasted Life have decided on this belated career review.
Let's take a look at the movies of this former high fashion model who decided to become an actor…



Six Days a Week
(1965, writ. & dir. Luigi Comencini [8 June 1916 – 6 April 2007])
Original title: La Bugiarda. Possibly her debut film, Janine Reynaud plays the "real" Silvana — a fact that only makes sense if you know the movie's plot.
And what is the plot? Well: "Maria (Catherine Spaak of Cat o' Nine Tails [1971 / Italo trailer]) is a young beauty who is busy juggling three boyfriends (a count, a dentist and a student) at the same time. She manages this elaborate deception by impersonating her roommate Silvana (Reynaud), who is a real-life airline hostess. She lies to the count (Enrico Maria Salerno [18 Sept 1926 – 28 Feb 1994]) and the dentist (Marc Michel [10 Feb 1929 – 3 Nov 2016]) about her flight schedules and her whereabouts so she can spend three days a week with each of them. She spends the remaining day of the week with a student (Manuel Miranda), who thinks she is a fellow student named Maria. One day the news of the real Silvana's flight disappearance breaks out and she is presumed dead. Comedy and confusion ensure when Maria is forced to come up with a more elaborate scheme to cover her tracks and keep her boyfriends happy. [imdb]"For more about the movie, go to La Calda Vita.
Great soundtrack to
La Bugiarda:


 Mission to Caracas
(1965, dir. Raoul André [24 May 1916 – 4 Nov 1992])
Original title: Mission spéciale à Caracas. Janine Reynaud plays Véronique — she doesn't make it to the end of the movie. According to Cinemorgue, she is "shot to death by an enemy agent, using a gun hidden in a camera, on board an ocean liner".
Plot: "Parody spy thriller of attempts by French agents to discover plans for a nerve poison bomb which is about to cause war between France and Russia. [BFI]"
Eurotrash Cinemaoffers more details: "Roland Carey is special agent Becker, who's after a briefcase that rather cleverly disguises some secret documents. The documents are being smuggled aboard a cruise ship, as luck would have it. Based on Claude Rank's spy novel […]." We were unable to discern which novel.
At her official blog, Hammer actress Yvonne Monlaur (15 Dec 1939 – 18 April 2017, see Brides of Dracula[1960]), who plays Muriel in the movie, gives a full and extremely detailed plot summary and also mentions that "Mission to Caracas is probably not a great film. The plot summary […], with its awkwardness and naive narration, sometimes unintentionally funny, reflects the numerous problems which marked its shooting, one of the longest and most chaotic I've ever lived. We went on a cruise to Venezuela during the months of April, May and June. It was such a holiday for most of the team that we sometimes forgot we had a movie to shoot!"


A Desire to Die
(1965, dir. Duccio Tessari [11 Oct 1926 – 6 Sept 1994])
Original title: Una voglia da morire. Who knows what Raynard's part was in this obscure movie, as while one finds her across the web listed on the cast her character is never named. Director Tessari was a versatile and fun if now underappreciated and forgotten director and scriptwriter whose oeuvre includes working on the scripts of Mario Bava's Hercules in the Lost World (1961 / trailer), Sergio Corbucci's Goliath and the Vampires (1961 / trailer), and Leone's A Fistful of Dollars(1964).
Also directed by Duccio Tessari –
the Euro-blaxploitation flick
Three Tough Guys(1974):
The blog One Man & His Droidis the lone voice that knows this movie, writing: "In search of forgotten films. […] Una Voglia da Morire (1965) by the Genoese Duccio Tessari, a film shot for the most part in Arenzano, is a sarcastic attack on the cynicism and hypocrisy of middle-class Italians during the boom years which was banned on the grounds of obscenity, and when it was finally released didn't have a real distribution. Since then it has become an invisible film, forgotten by everyone. […] It starts off in Arenzano with the death of a prostitute (Regine Ohann) killed in the street, and then moves setting to the wealthy Milanese middle-classes. The murdered woman was the wearing shoes and underwear of a wealthy lady, a businessman (Raf Vallone [17 Feb 1916 – 31 Oct 2002]) from the Po Valleydiscovers in the newspaper that the license plate of the car involved belongs to his wife (Annie Giardot [25 Oct 1931 – 28 Feb 2011], of Mario Bava's Shock![1973 / trailer]), […] and the truth slowly starts to come out: the wives of these two gentlemen had gone on holiday to Arenzano for a few days, started seducing men to relieve their boredom…"


La spia che viene dal mare
(1966, writ & dir Lamberto Benvenuti)
Supposedly aka The Spy Who Came from the Sea. Though the unknown Benvenuti directed — the first of his only three known movies — credit is given to "John O'Burges". Janine Reynaud plays bad gal Madame Lina, and even made it onto some of the posters to this obscure movie. Over at Cinemorgue, which is not sure if the death they speak of is in this movie or in Operation White Shark (1966, see directly below), they claim her character is "shot to death in a shoot-out as she gets out of her car on the beach".
According to the imdb, the lead of this spy movie, John Elliot, is the same John Elliot that played Det. Harlan in HGLewis's The Wizard of Gore (1970 / trailer). The mind boggles.
From the movie:
Possible plot of the movie: American intelligence agencies believe that that top US scientist Dr. Lindstrom will be assassinated during an upcoming scientific conference to be held in Geneva. After some investigation, the secret service discovers that the criminals may be based in the Republic of San Marinoand so they send in an agent there. Agent 027 (Elliot), with the help of a colleague, finds out that the criminal's den is led by some guy and Madame Lina, the head of a fashion house. The story soon moves to Venice and then Geneva. Of course, in the end, the wicked die.


Operation White Shark
(1966, dir. Filippo Walter Ratti as "Stanley Lewis")
"Welcome to the low rent district. While Operation White Shark is colorful in places, it is clear that the filmmakers were working with a budget embarrassingly low even for Eurospy knockoffs. We're in for some third-rate spy action! […] This is one of those movies that has much unintentional humor in the dialog and situations. It will keep you rolling. Also, Robbie Poitevin provides an entertaining score that far outshines anything on the screen. [imdb]"
Original title: A.D.3 operazione squalo bianco. Reynaud has a meaty role as the Frida Braun of the Tattoo Club; her singing, obviously enough, was dubbed. Over at Cinemorgue, which is not sure if the death they speak of is in this movie or in The Spy Who Came from the Sea (1966, see directly above), they claim her character is "shot to death in a shoot-out as she gets out of her car on the beach".
Ratti's later films include (as "Peter Rush") Mondo Erotico (1973 / talk, talk, talk) and the two horror flicks, Night of the Damned (1971 / credits) and Crazy Desires of a Murderer (1977 / trailer). Scriptwriter Luigi Angelo went on to help write The Slasher aka The Prowler aka Bad Girls (1972 / trailer), starring Farley Grangerand, in a re-edited X-rated version entitled Penetration, the mighty member of Harry Reems.
Trailer to
Operation White Shark:
As revealed by the trailer above, Something Weirdhad this one for a while. They offered the following plot description: "When 'The Third Eye'— a criminal organization made up of the world's most vicious killers — kidnaps nuclear scientist Professor Von Kraft, his secret formula for a new atomic weapon that can destroy all human life falls into their evil hands. Making things a tad difficult, however, is that the weapon is located deep beneath the ocean. Nevertheless, the Third Eye plans on experimenting with the device in little more than a week. However, the Secret Service has other ideas and asks 'Jerry', their super computer, to locate the best man to stop them: Mark Andrews (Rodd Dana), a special forces secret agent who infiltrates the criminal gang under the cover of a robber who just happens to be an expert underwater diver! He also wastes no time romancing all manner of shapely women in the tightest clothes imaginable (when they're wearing more than a modestly placed bed sheet) especially Janine Reynaud, the bisexual leader of The Third Eye, who sports a wild wardrobe of very revealing outfits."
Rodd Dana, by the way, began his limited career in small parts in two faves of ours, Bert I. Gordon's War of the Colossal Beast (1958 / trailer) and Herbert L. Strock's How to Make a Monster (1958 / trailer).
For more about Operation White Shark than you would ever want to know, go to Teleport City.


Special Code: Assignment Lost Formula
(1966, dir. Pino Mercanti [16 feb 1911 – 2 Sept 1986])
Original title: Cifrato speciale. "Herbert J. Sherman" is credited as the director. Reynaud plays Sheena in a movie also featuring the great Helga "Yummy" Line (of the great Horror Express [1972 / trailer], José Ramón Larraz's Estigma (1980) & Sex Rites of the Devil [1982], Umberto Lenzi's Kriminal [1966] & So Sweet... So Perverse [1969], and so much more).
Credit sequence and theme:
"Standard Italian Bond imitation follows the exploits of sort-of agent Johnny Curd (Lang Jeffries[7 June 1930 – 12 Feb 1987]), who knows the whereabouts of a secret code or formula used by the Nazis. Many different organizations try to buy him, which leads to some action and an underwater showdown. Trivial, disjointed fare tries hard to be dramatic, comes off as pretentious. Good Riz Ortolani score. [Cult Movies]"
Lang Jeffries lackluster career includes such highlights as Al Adamson's "Blaxploitation" flick, Mean Mother(1974), which he only appears in because it is actually a re-edit of León Klimovsky's Run for Your Life (1971).
Trailer to
Mean Mother:


Ypotron - Final Countdown
(1966, dir. Giorgio Stegani as "George Finley")
Original title: Agente Logan - missione Ypotron. Director Giorgio Stegani, who had previously directed Mill of the Stone Women (1960 / trailer), went on to do "additional dialogue" for Ruggero Deodato's classic, Cannibal Holocaust(1980). Janine Reynaud plays Carol. Over at Cinemorgue, they claim that Carol is "poisoned when she scratches her finger on a hidden needle on a briefcase handle".
Credit sequence:
"Ypotron boasts […] a terrific score by Nico Fidencothroughout the film and the swinging theme song is performed by The Sorrows. This film has enough bad guys for three movies and the confusing plot doesn't help any. Things to look forward to are scenes with wind tunnel peril (it had to happen), a strange stripper act, and dialog that loses something in the translation. Note: the bloodthirsty of you will enjoy the bullfight scenes where you witness the actual killing of a bull. Our heroes get to use all manner of fancy gadgets in their pursuit of evil. Lighter communicators get a workout and there's an instant oil slick capsule to derail those bad guys chasing you. They use a briefcase movie camera which not only develops the film automatically but will also project it onto a tiny screen, a receiver in a Norelco shaver, a nifty gadget that makes phones ring, and a radar tracking device in a Bible! [B-Movie Nation]"
The plot: "Doctor Morrow (Alfredo Mayo [17 May 1911 – 19 May 1985], of In the Folds of the Flesh [1970 / trailer]), a scientist who works for NASA, has mysteriously disappeared. The Secret Service investigates. Agent Lemmy Logan (Luis Dávila [15 July 1927 – 21 Aug 1998]) is in charge of the case. He discovers that that Leikman (Alfredo Mayo) — a former Nazi scientist — is developing Ypotron, a weapon that could destroy a large part of the world. Leikman wants to use the Dr. Morrow's scientific knowledge. This is an Europsy movie from the sixties with some nice locations en beautiful women. […] The acting is good, especially from Luis Dávila as Lemmy Logan. However, there are 3 positive things about it that bear special mentioning: 1) Janine Reynaud in a bikini. Compared to the cute but overly mousy Gaia Germani [as Jeanne Morrow], she plays the better female character here. 2) The striptease sequence combined with the heroine's smart trick of escaping from the hero's close supervision. 3) The interesting final twist. [European Trash Cinema]"


Killers Are Challenged
(1966, dir. Antonio Margheriti [19 Sept 1930 – 4 Nov 2002])
Original title: A 077, sfida ai killers. Janine Reynaud plays Halima — you already see her during the credit sequence. Over at Cinemorgue, they claim her character is "shot in the chest by Wandisa Guida [character: 'Terry Coleman']".
Of course, as so often in Margheriti's case, the movie was credited to his favorite pseudonym, "Anthony Dawson", the man behind many a good movie and more than one bad movie — like Alien from the Deep(1989), starring Charles Napier. Musclebound actor Richard "Hung" Harrison is also found in Orgasmo negro (1980 / opening scene), among many fun films. A 077, sfida ai killers was preceded by Luciano Martino's Secret Agent Fireball / Le spie uccidono a Beirut (1965 / trailer) and followed by Mino Loy & Luciano Martino's Fury in Marrakech / Furia a Marrakech (1966 / credits), the latter without Richard "Hung" Harrison (photo below not from the movie).
"In what has to go down as one of the great disappointments in the history of cinema, at no time during director Antonio Margheriti's Killers Are Challenged does star Richard Harrison ever utter the phrase, 'The name is Fleming. Bob Fleming.' [Monsterhunter]"
Credits and theme song:
"Like always, the story is weak. This time a crime organization wants to take control over a formula that would make every kind of poisonous energy unnecessary (gasoline for example) and their last person to kidnap and kill is Dr Coleman (Marcel Charvey [22 Feb 1916 – 21 Aug 1995]). But of course, the US government doesn't want this to happen (which is kinda ironic, because nowadays they do everything to get their hands on the oil!) and sends Bob Fleming (Harrison), their top spy, to take over Coleman's identity and stop the sinister plan! He travels to Casablanca and meets up with Coleman's wife (Wandisa Guida of I vampiri [1957 / trailer]), and the rest of the movie is more or less one long excuse to show him avoid getting killed by different henchmen! Gotta love the Italians! [Ninja Dixon]"
The bar brawl:


The Seventh Floor
(1967, dir. Ugo Tognazzi [23 March 1922 – 27 Oct 1990])
A comedy starring Ugo Tognazzi. Original title: Il fischio al naso. Janine Reynaud appears briefly as "the English Ambassador's Daughter"— but for that, Tina Louise (photo below from some old issue of Playboy) has a meatier role as Dr. Immer Mehr. (A Bondian joke name in German, "Immer Mehr" translates into "Always More".)
"In this unusual offbeat black comedy directed by Ugo Tognazzi, Giuseppe (Tognazzi) is a middle-aged industrialist obsessed with gadgets. When his nose starts to whistle uncontrollably, he checks into a clinic to resolve the problem. What begins as a minor affliction worsens, and Giuseppe is placed on a different floor as his ailments multiply. The sicker he gets, the higher he goes up in the floors of the clinic, until he is near death's door. [All Movie]"
Italian trailer:


Run, Psycho, Run
(1968, dir. Brunello Rondi [26 Nov 1924 – 7 Nov 1989])
Original title: Più tardi Claire, più tardi... Rondi also directed the early Italo psycho-horror movie El demonio (1963), the Italo women-in-prison flick Cárcel de mujeres / Riot in a Women's Prison (1974 / trailer), and Emanuelle viciosa (1976 / full movie); he also co-wrote a number of Fellini films. Janine Reynaud part in this movie is minimal, it would seem, as no online source ever list the name of her character.
Theme to
Più tardi Claire, più tardi...
"The film is set in Tuscany in 1912 where the retired Judge George Dennison (Gary Merrill [2 Aug 1915 – 5 March 1990], of The Savage Eye[1960]), his wife Claire (Elga Andersen [2 Feb 1935 – 7 Dec 1994], of Coast of Skeletons[1965]), and their son Robert arrive at a Villa in Mount Argentario for the summer. Shortly after a party, both Claire and Robert are murdered. A year later, Dennison once again returns to the villa with his new fiancée, Ann (Elga Andersen) and her son. Ann resembles Claire which he believe will assist him in unmasking the murderer. Although filmed in the mid 1960s, Run, Psycho, Run was not released until 1968 in Italy. It subsequently was released to television in the United States. [Wikipedia]"
At the Classic Horror Film Board, David Sinclair said: "The John Stanley guide[…] dismissed the movie is a non-scary, boring talkfest. The Stanley guide was right on that one point; this is one of the talkiest movies I've encountered, and were it not for the plot descriptions, I wouldn't have a clue to what is going on here. Heck, even with the plot descriptions, I'm still not sure. Only three visual moments stand out; the first is the murder scene itself (and that's a little ambiguous), the second is a scene where a peasant girl plays with a young child while wielding a big butcher knife (which was rather suspenseful even if I didn't know the context for the scene), and a scene near the end where a woman explores a hidden room, and it's here I see the lone reference to Psycho (and which provides the clearest horror content I could find in the movie). Other than that, the English title should have been Talk, Psycho, Talk!"


"The Black Hand"
(1968, dir. Max Pécas [25 April 1925 – 10 Feb 2003])
Original title: La Main Noire. The English title above is a direct translation of the original French title; the film doesn't seem to have been given an English release. Max Pécas is a sorely underappreciated sex- and B-movie filmmaker from France who, though hardly a stylistic master or influence, made trashy movies that are nevertheless entertaining time-passers. This one here has a noteworthy German title: Die Sexsklavinnen von Schloss Porno— or: The Sex Slaves of Porno Castle. He and Reynaud were to work together again in the future…
Opening scene:
The plot, we think: Secret agent Thomas Usher (James Harris of Nuda per Satana [1974/ trailer]and Jesús Franco's Hot Nights of Linda [1975 / trailer]) is on the trail of the "Black Hand", a terrorist organization seeking world domination. After he is attacked by an enemy agent, he reaches a castle, which is home to a Research Institute for Testing New Forms of Society. There is Zhan Raur (Jean Topart [13 April 1922 – 29 Dec 2012]), a man who works himself into a tizzy every time he talks about power. Zhan Raur proves to be as a leader of the Black Hand, and he's waiting for the arrival of some secret documents revealing the positions of merchant ships he intends to destroy. Usher is also fascinated by the three women of Raur's immediate circle: the dominant Mafalda (Janine Reynaud), his partner, their submissive servant Eleanor (Chantal Nobel), and Eleonore's apparently mentally deficient cousin (Anny Nelsen). Trouble arises when Usher gets unmasked by Zhan Raur, who wants to test his methods for finding the truth and brainwashing him…
At the imdb, that famous fan of sex films lorraves: "Max Pecas is my favorite French porn director […]. An obscure title, 'The Black Hand', from his oeuvre is quite enlightening as to the age-old issue of how would a ghettoized porn director handle directing a mainstream film. […] Here Pecas is making an action film in which he shows skill at eliciting consistently effective acting performances in both lead and supporting roles, clean/evocative action outbursts in the Jean-Pierre Melville(20 Oct 1917 – 2 Aug 1973) mode, and idiosyncratic style points all the way. The inclusion of partial nudity and sex is no more jarring than in any 21st Century major movie, and not the crutch one would expect. Stolid hero played by 'James Harris' […] is weakest element, especially as casting has him matching physically his opposite-number nemesis. Otherwise we have a very colorful cast: a sexy white-haired evil genius Jean Topart, who is wont to pontificate on East/West relations when he is not humping some young babe; three beautiful babes led by genre favorite Janine Raynaud […]; and even a mysterious dwarf who tortures a beautiful blonde in the film's second scene. Opening is stark action-man cinema, very well directed and emblematic of the fact that Pecas is directing a real movie, all the way. After that, the dwarf sets off a series of strong BDSM and fetish-content scenes that are up to the domestic '60s level, popularized by Bob Cresse in films like Hot Spur (1968 / trailer) and Love Camp 7 (1968 / trailer). Name your kink and it is effectively (soft-core only of course) interjected at the proper moment here. The spy/intrigue content is verbally played up but has little impact here. Style is everything with a baby-doll impersonation by the blonde member Anny Nelsen of Topart's troupe loaded with interesting shtick, and the nihilistic finale very skillfully blocked and staged with enough final reel twists to fill a boatload of movies. A 21st Century emphasis on gore has made Pecas's action and death scenes seem very tame, but I enjoyed them for that very reason of lacking the explicitness cop-out."


Castle of the Creeping Flesh
(1968, dir. Adrian Hoven [18 May 1922–8 April 1981])
Original title: Im Schloß der blutigen Begierde— which translates not into its common English title above, but into In the Castle of Bloody Lust. (Indeed, another aka title of the move is Castle Of Bloody Lust.) The English cut is shorter than the original cut. "This is definitely not for the squeamish as there is beaucoup amounts of nudity, violence, and actual footage of open-heart surgery."
Director Hoven is credited as "Percy G. Parker". We here at A Wasted Life first got to know of Adrian Hoven as an actor in the lesser Edgar Wallace movie The Secret of the Red Orchid (1962 / German trailer), but Hoven, an active actor/director/producer while alive, was an exploitation force in his day and has a career full of notable, noticed and unnoticed A to Z films to his name. If people recognize his name, it's probably for writing and producing Michael Armstrong's Mark of the Devil (1970 / trailer), starring Herbert Lom, and directing its inferior sequel, Mark of the Devil Part II (1973 / trailer). His work is worth checking out if you're a fan of Eurotrash or simple bad movies. Aside from directing Janine Reynaud in this movie, in 1968 & 1969 he acted alongside her in three Jess Franco movies. (If you get down to it, this movie plays out like a Franco movie, too. There are voices out there that claim he is the true scriptwriter of the movie.)
French trailer:
Janine Reynaud has two roles in two different time periods in Castle of the Creeping Flesh: she plays Vera Lagrange in the present as well as the Baron's mistress in the past: According to Cinemorgue, Vera survives the movie but the "Baron's mistress is stabbed to death by Graf Saxon (Howard Vernon) in his laboratory."
The plot: "Castle of the Creeping Flesh begins with a lavish and very noisy party that is about to break into a wild orgy, but before the fun begins Baron Brack (Michel Lemoine [30 Sept 1922 – 27 July 2013]) convinces the flirty socialite Vera Lagrange (Janine Reynaud) to accompany him to his country house for a more intimate experience. However, the plan does not work as intended and Vera leaves with a couple of her friends, while Baron Brack ends up raping her equally flirty sister Elena (Elvira Berndorff). After riding aimlessly in the bushes for hours, the partygoers eventually reach a mysterious Victorian castle and ask a very rough-looking guard if they can spend the night there because it is already too dark and they have no clue how to find their way back. Then the owner of the castle, Graf Saxon (Howard Vernon [15 July 1914 – July 25 1996] of Zombie Lake[1981] and so much more), welcomes the guests and while showing their bedrooms entertains them with some fascinating stories about his ancestors. Not too long after that the guests accidentally discover that there is an underground chamber where Graf Saxon is secretly trying to rebuild a very special woman who died a long time ago. [Blu-Ray.com]"
"Never scary but occasionally atmospheric and always entertaining, Castle Of The Creeping Flesh is hard to take seriously but it is a fun watch, particularly if you have an affinity for European trash films. The cast are in decent form here. Lemoine's eyes seem to go in two different directions at once, making him an odd choice to play the studly rape-happy male lead, but he's enthusiastic enough in the part to make it work. Janine Reynaud and Elvira Berndorff both get plenty of screen time and are frequently running around in the nude, so that's a definite plus that almost makes up for the fact that the great Howard Vernon is woefully underused in the film. […] The movie is pretty rape happy and the sex scenes plentiful and fairly graphic (never getting close to hardcore, mind you, but there is a LOT of skin on display in this picture). […] People stare at one another with long, knowing glances every couple of minutes. The scenes that take place in the basement, where Saxon has a secret laboratory, are fairly gory as the filmmakers decided to splice in what appears to be footage from actual human heart surgery into the proceedings. This happens a lot. […] Still, this moves at an okay pace and features enough strange moments to keep your attention. We won’t spoil what happens to the bear that Saxon let loose during his moment of anguish, but it’s pretty great. The dialogue is so overwrought that you can’t help but get a kick out of it and the eclectic score is kind of fun and the locations are awesome. [Rock! Pop! Shock!]"
Full movie:


Killer Without a Face
(1968, writ. &dir. Angelo Dorigo [as Ray Morrison])
Original title: Assassino senza volto. As far as we know, the last cinema credit of writer/director Dorigo, who moved to television after this movie. Like so many, this low-brow (and very rare) giallo features an Euro-slumming American has-been: tough guy Lawrence Tierney (15 March 1919 – 26 Feb 2002) plays "The Mute". An oddity of the genre, the movie is set in a gothic castle and shot in Expressionistic B&W, so it feels a bit retro-gothic. Janine Reynaud plays Francis. The best synopsis we found on line: "Who is shooting people in the castle?"
"In this Italian giallo from director Angelo Dorigo, the owner (Mara Berni as "Barbara MacDonald ") of a remote castle finds herself embroiled in a situation where a suspicious falling death occurs that slowly leads to a series of mysterious happenings around that castle that soon lead to a series of murders. Killer Without a Face's storyline is pretty much in the slow-burning department as Dorigo establishes plenty of darkly lit sequences while heavily focusing upon developing the film's characters and the situation they find themselves in as the killings occur with the film's final 25 minutes. The most noticeable thing about Killer Without a Face are the participation of both American noir star Lawrence Tierney (who has a supporting role [and was starting to become heavy set]) and Jess Franco starlet Janine Reynaud as they lead their support to the cast and help make Killer Without a Face a pretty watchable film. [Letterboxd]"


Succubus
(1968, dir. Jess Franco [12 May 1930 – 2 April 2013])
Original title: Necronomicón. Supposedly written by Pier A. Caminnecci (25 July 1941 – 30 Dec 2013), who seems to have left the film biz soon after producing his final film, Freddie Francis's The Vampire Happening (1971 / trailer), starring Caminnecci's then-wife Pia Degermark. Janine Reynaud plays the lead role in Succubus, a woman named Lorna Green.
Spanish trailer:
Plot: "This strange, surrealistic German horror film from cult director Jesus Franco stars Janine Reynaud as Lorna Green, who performs a pseudo-snuff nightclub act involving erotically staged S&M murders. Lorna's mind is controlled by a man who might be Satan (Michel Lemoine), and she slowly loses her tenuous hold on reality, moving increasingly closer to the night when she begins to really kill. Lorna's nightclub act and the final scenes — involving a wild orgy where Lorna viciously murders a man named Bill Mulligan (Jack Taylor) — were cut drastically in some of the film's several release versions. Prints run 93, 84, 81, and 78 minutes. Acclaimed director Fritz Lang called Necronomicon 'a beautiful piece of cinema', but its edgy sexuality and hallucinatory tone struck most viewers as confusing and off-putting. This eerie, haunting film co-stars Howard Vernon and Nathalie Nord, while producer Pier A. Caminnecci (who co-scripted) and singer-filmmaker Adrian Hoven also appear. [All Movie]"
According to the current Wikipedia(Date: 21.05.18): "Succubus was Franco's first film made entirely outside of Spain. […] While filming was in progress, the German financial backers pulled out of the film. Producer Adrian Hoven contacted Pier A. Caminnecci who took an interest in actress Reynaud and agreed to finance the film. An affair later occurred between the two."
In his book Deadlier Than the Male: Femme Fatales in 1960s and 1970s Cinema, Douglas Brode writes: "Succubus divided audiences and critics in 1969, continuing to do so today. The late Pulitzer-prize winning reviewer Roger Ebert considered this to be one of the worst films ever made, even speaking unkindly of Reynaud's physical appearance.*Most others found her, if not the movie, enticing. Quentin Tarantino, who owns a print, considers this a classic."
*Roger Ebert: "[Succubus is] a flat-out bomb. It left you stunned and reeling. There was literally nothing of worth in it. Even the girl was ugly."
Some scene from the movie:
Well, we here at A Wasted Life saw the movie and were left somewhat indifferent, though like Ebert we did make note of Reynaud's physical appearance — to be exact, "her surprisingly ravished face". Our final judgment of the movie itself was that "In regards to surrealistic sexually transgressional cinema, Succubus might be an early and thus noteworthy example, but it is also one that has aged badly. Indeed, in regard to this particular genre of formerly avant-garde cinema, Jess Franco was far more successful five years later with his more linear but nonetheless equally oblique Virgin among the Living Dead (1973 / trailer) which, oddly enough, hasn't aged quite as badly." (Go here for our full review.)
10CC Bulletsis of the opinion that "Succubus was like a new beginning for director Jess Franco. Who up till that point as director had mostly made horror or spy films. The films that followed Succubus would become more and more sexual in their content. The narrative in Succubus like many Franco films has been said to be disjointed or confusing. Both of which it is not and in many ways it is one of Franco most developed plots. The films dream like narrative style perfectly complements Franco's surreal imagery. What is real and what is a dream? Franco walks this line ever so finely as he never fully eposes either as frauds."

To be continued….

Short Film: Neomorphus (2011, Brazil)

$
0
0
Here's three-minute oddity by the Brazilian production company Animatorio. A mixture of stop motion with a dash of CGI, this nightmarish little short is a visual if twisted treat. We were too taken in by the sights to look for a theme, but a visit to the film's homepagereveals a theme indeed: "Transformation trough mutations stages. Evolution as a function gain is called neo-morphic. Imaginary creatures adapt into an Ecosystem and the transformation of these habitats for these creatures generates a fantastic cycle. The mutation symbolism is part of our experiences in that trajectory, changing places, finding a new spectrum, a new phase, evolving."

Amphibious 3D (Netherlands / Indonesia 2010)

$
0
0
Five years after the less than notable Spanish horror movie Beneath Still Waters(2005), Brian Yuzna dusted off his pen, checkbook, megaphone and folding chair to write, produce and direct a less than truly notable Dutch-Asian horror movie that is, at least, both less of a fiasco and more enjoyable than the turkey preceding it. The biggest flaws are, as always in Yuzna's case, not directorially based: in all his movies, Yuzna generally has a good eye and knows how to use the camera in a way that keeps the action flowing, the tension present, and the viewer interested. No, as normal, the flaws are in the narrative itself, which, as seems common for him at this stage of his career, is less than optimal. Likewise, once again the overall lack of thespian ability of many of the people onscreen is sorely visible.
At the core of its exotically located heart, Amphibious is basically an old-fashioned monster movie with exotic, extra trimmings — "creature feature fusion", so to speak. Were someone like Eugène Lourié (8 April 1903 – 26 May 1991) or Jack Arnold (14 Oct 1916 – 17 March 1992) to rise from their grave(s) today to make a full-color, CGI-heavy, somewhat gory, 3-D monster movie in Asia, it might look something like Amphibious. So if you have a penchant for monster movies along the lines of Arnold's Tarantula (1955 / trailer) or Lourié's Beast from 20,000 Fathoms(1953 / trailer), you might find yourself mildly enjoying this movie despite yourself. It is stupid, it is clumsy, it is almost predictable, but it is also oddly charming and watchable, even as it often induces you to laugh at places where you shouldn't. And the ending is sort of a gross, unexpected kick in the gut, which is definitely a plus point. 
In its broadest sense, Amphibious is about an unbelievable and hot biologist* with the cutest of European accents, Dr. Skyler Shane (Janna Fassaert), who hires the crusty American boatman, Jack Bowman (Michael Paré), to boat around some Indonesian waters looking for something and who ends up getting involved with a deadly gang of smugglers based on a mid-water fishing platform as well as a deadly underwater monster when she tries to save an enslaved child named Tamal (Monica Sayangbati of Pulau hantu aka Ghost Island [2007 / trailer] and Mati Suri aka Comatose [2009 / trailer]). A lot more happens, of course, but the bare-bones plot just given is basically what drives all the death and gore and suspense of the movie — all of which is given desperately needed support by the exotic location. 
*How hot and how unbelievable is Dr. Shane? Well, the only less-believable scientist to hit the silver screen is, probably, the not-half-as-hot Dr. Christmas Jones (Denise Richards) of the 1999 James Bond movie, The World Is Not Enough (trailer).


Released in the Netherlands in 2010, Amphibious disappeared more quickly than a dissatisfied one-night stand. Today, it is easily available on DVD, but maybe you should save the money. Heralded as the first 3-D Dutch production, the movie looks less like it was shot in 3-D than subsequently converted from 2-D, and while more than enough shots play with the 3-D depth of vision — a toilet death, a scene in which Skyler sort of freaks out during a religious ceremony on the street, and the final scene all come immediately to mind — the overall quality of the 3-D is primitive and eye-straining enough that one is warned to go for the 2-D version. We, for one, would seriously say that but for the freak-out scene, the 3-D effects brought nada to the movie.
In regard to the acting, as mentioned it is generally pretty abysmal. Michael Paré (of Bloodrayne: The Third Reich[2011], Ninja Cheerleaders[2008], Bad Moon[1996] and Village of the Damned[1995] and so much more) is a shining example of true thespian talent in comparison to the rest of the cast, and his character-appropriate sun tan is probably the best indicator of what in all probability made this movie project attractive to him — aside from the paycheck, that is. (Who can say "No" to a paid vacation?) The problem with Jack, the figure Paré plays, however, is that the figure's actual character is inconsistent: he veers from self-centered to heroic to self-sacrificing at such speed that one could well believe he has multiple personalities. Worse — although good for a fit of laughter — at one point, the story has such little use for him that it literally leaves him stranded on a floating boat with a dead engine watching all the action on the fishing platform from afar. 
Once the movie goes into action mode, Janna Fassaert is never as convincing as her accent is endearing, which only becomes odd if you bother to watch her showreel https://www.youtube.com/watch?v=fq_w0GUGdPM, which indicates that she can act. But attractive she is, so she is always at least pleasant to watch — though it is with deep regret that while she does have a penchant for short shorts comparable to those of Dr. Christmas Jones, she also leaves her clothes on throughout the movie, never even getting down to something as innocuous a one-piece bathing suit. 
That said, Amphibious does open with a pre-narrative interlude of a typical, backpacking party-tourist couple, Julie (Elke Salverda) and Logan (Timo Ottevanger), which ends in death and gore soon after a quick flash of Julie topless. And while such scenes are generally appreciated, in the case of Amphibious it seriously seems tacked on, as if the conscious decision was made to shoot a scene that could be added in countries that don't object to female nudity in movies. And while the interlude is precariously interwoven into the narrative, and obviously involves the same killer creature, it really has nothing to do with rest of the movie. (But in this day and age, maybe we shouldn't complain.)
As mentioned, Amphibious is a creature movie, and the creature of the movie — Eugène Lourié waves from the grave, here — is nothing less than a giant prehistoric undersea monster. And though one might initially scoff (if not burst out laughing) at the concept, much less sight, of a huge water-inhabiting scorpion, a creature we now know as tiny and living on land, the real primordial "scorpion" of yesteryear did indeed live in water, where it sat at the top of the food chain for millions of years. (An estimated 27 million, actually — a lot longer than mankind will ever survive. Hell, we'll be lucky if we survive the Trump administration.) Of course, the real prehistoric scorpion looked nothing like the killer critter of Amphibious, but does that really matter all that much? Is Robert Gordon's It Came from beneath the Sea [1955 / trailer] any less fun just because Ray Harryhausen's octopus has six arms instead of eight?
Though hardly a big step, Amphibious is nevertheless a noticeable step up from Yuzna's last directorial effort. It is entirely acceptable in a creature feature kind of way: a passable full color update of the B&W prehistoric monster flicks that the older generations used to catch on the local TV channels after school. The movie may not set its sights high or be all that demanding, but in regards to what it aspires to do and be, Amphibious manages to be better and more interesting than the average SyFy underwater and/or prehistoric monster cheapy — but then, is that really difficult to do?
But all truth told, if you're an old school monster-on-the-loose film fan, we would recommend you check out Tremors(1990) before this baby here. True, by now that flick is old enough to almost be old school, but it really works way better than Amphibious. As does Splinter(2007), for that matter, despite the minuscule size of its deadly critters. 
Amphibiousis, in the end, good for a rainy day at best — and even then, only when it doesn't cost any dinero to watch.

Short Film: The Nose (France, 1963)

$
0
0

Much like Hieronymus Bosch (c. 1450 – 9 Aug 1516) is now seen as an early (if unwitting) surrealist painter, the Ukrainian-born writer Nikolai Vasilievich Gogol (31 March 1809 – 4 March 1852) is now often referred to — at least in the West — as an early father of surrealist literature. (In Russia, he's considered a founder of literary realism — go figure.) We never managed to make it through Gogol's classic novel Dead Souls, but for that we have always enjoyed his drily satirical, macabre short stories like The Overcoatand The Nose. Especially the latter features one of the most inanely surreal literary concepts to precede that of a guy waking up one morning as a cockroach (see: Kafka, The Metamorphosis[trailer to the 2012 Canadian film version]). In The Nose, a barber awakens to find a nose in his bread and, in turn, a client of his wakes up to find out that his nose is gone… and that it has also taken on a life of its own.

"The use of a nose as the main source of conflict in the story could have been due to Gogol's own experience with an oddly shaped nose, which was often the subject of self-deprecating jokes in letters. The use of iconic landmarks in the story, as well as the sheer absurdity of the story, has made The Nose an important part of St. Petersburg's literary tradition. [Wikipedia]"

 
Above: An example of Alexander Alexeieff's work:
Bedroom for Bouddha Vivant (print available at Galerie Seru)

In 1963, the Russian-born artist, filmmaker and illustrator Alexandre Alexeieff (18 April 1901 – 9 Aug 1982) and his American-born 2nd wife Claire Parker (31 Aug 1906 – 3 Oct 1981) created a short film version of the tale using a technique they themselves invented: pinscreen animation. Indeed, the two even invented the technological device with which to make the films, the pinscreen, or Écran d'épingles (patent registered 1935 in the name of Claire Parker), "a vertically-mounted grid of 240,000 sliding metal rods that are first manually pushed into position to create lit and shaded areas, then filmed frame by frame. [Wikipedia]"

"The Nose is a divine bit of nonsense that is better if one does not attempt to make sense of its absurdity and dream logic. (That hasn't stopped academics from trying, including the usual, tedious Freudians. But, hey, who am I to interfere with someone's livelihood?) The story is simplified considerably in this version and a subplot about Major Kovalyov's flirting ways is cut entirely but that is understandable given that the film is silent and without intertitles. [Fritzi Kramer @ Movie Silently]" (As they say in German, "Wie die Nase eines Mannes, so sein Johannes.")

Talent, by the way, seems to have run in the Alexeieff family: Alexeieff's daughter Svetlana Alexeieff-Rockwellis a successful painter and illustrator, and her son (his grandson), [Charles] Alexandre Rockwell, is an independent filmmaker — he did the segment The Wrong Man in Four Rooms (1995 / trailer), among other things.

We here at A Wasted Life first caught this short decades ago at art school, where it bowled us over. The story, great, and the visuals absolutely beautiful — a cavalcade of images that would work, artistically, on their own if removed from the source and presented as solo pieces. Achieved by a painstakingly slow process of moving the pins on a pinboard, one by one. All the more amazing when you consider that they didn't work with advance sketches or drawings, creating each frame one at a time. It is hardly surprising that the duo only ever made six short films. (That said, the duo saw no difference between "artistic" and "commercial" work and created up to 41 adverting shorts, many using the technique.)
Recently we rediscovered this undeservedly obscure short on YouTube— enjoy!


R.I.P.: Janine Reynaud, Part II – 1969-2000

$
0
0

Wednesday, 13 Aug 1930 - Tuesday, 30 Jan 2018


Last month Boot Hillannounced the death of cult actress Janine Reynaud, a surprise to us here at A Wasted Life because we had assumed that she went to make bad films in the sky decades ago. But no, instead she passed away at the age of 87 on 30 January 2018 without notice or fanfare. How, we wonder, could that be? (Probably because when she went into retirement in 1978, she really retired.) 
True, she was no great actress, and in appearance was somewhat reminiscent of Amanda Learbut with worse skin, but especially as of 1968 she did make a variety of films worth watching, even if they haven't all aged that well. And that's why, though she is long gone, we here at A Wasted Life have decided on this belated career review. 
Let's take a look at the movies of this former high fashion model who decided to become an actor…


Go here for Part I: 1965-68


Red Lips aka Two Undercover Angels
(1969, writ. & dir. Jess Franco [12 May 1930 – 2 April 2013])


"Oh, such a dirty deal! And I was just at the hairdresser!" 

Original title: Rote Lippen, Sadisterotica. Co-written by Luis Revenga, fact we mention only 'cause he has a groovy last name. Followed promptly by a sequel, Kiss Me Monster (1969), with virtually the exact same cast.

"While Two Undercover Angels preceded Kiss Me Monsterinto theatrical release, the order in which the films are watched is unimportant. In fact, neither film actually introduced the 'Red Lips.' 1960's Labios Rojos [also writ. & dir. by Jess Franco] featured two female super-sleuths by the names of Christina (Isana Medel) and Lola (Ana Castor), who are generally accepted as the prototypes of Diana and Regina. However, this black-and-white item was never released in America, and no print is available for comparison to the better-known 1967 entries. […] The extremely irregular 'Red Lips' series continued with 1974's Les Emmerdeuses (with Lina Romay[25 June 1954 – 15 Feb 2012] and Pamela Stanford as 'Pina and Tina') and 1978's Opalo de Fuego (scene, with Romay and Nadine Pascal as 'Cecile and Brigitte') — but the two 1967 entries will remain definitive for most viewers. [Image Journal]"
Trailer to
Red Lips / Two Undercover Angels:
The plot to Two Undercover Angels: "When a group of models go missing and the authorities come up with no clues, the red lipstick duo Diana (Janine Reynaud) and Regina (Rosanna Yanni of Malenka [1969 / trailer]) are assigned to the case. They duo soon discover who is behind these mysterious abductions; he is a man named Klaus Triller (Adrian Hoven [18 May 1922 – 28 April 1981]). Why has he kidnapped these women and what does he plan to do with them? [10K Bullets]"
"The two Red Lips movies are Jess Franco at his most light-hearted. They're comic book-style romps, all very tongue-in-cheek and rather silly, but fun. […] The plot [to Two Undercover Angels] doesn't hang together all that well, but it doesn't really matter. Franco captures a comic book ambience pretty well (although he did the same thing much more effectively in The Girl from Rio [1969 / trailer], made at about the same time). The movie has a Pop Art kind of look, which fits in well with the themes of murder and art. Janine Reynaud and Rosanna Yanni are fun as the intrepid female private detectives. [Cult Movie Reviews]"



Kiss Me, Monster
(1969, writ. & dir. Jess Franco [12 May 1930 – 2 April 2013])

Janine Reynaud returns as Diana in the sequel to Red Lips aka Two Undercover Angels, once again alongside the far more delectable Rosanna Yanni as Regina.
 
Regina: "I just want to know what's going on."
Diana: "You don't need to know!"


The plot of Kiss Me, Monster: "After completing their latest mission Diana (Janine Reynaud) and Regina (Rosanna Yanni of Terrence Young's The Amazons aka War Goddess [1973 / French trailer]) are awoken one evening when they hear someone knocking on their door one stormy night. The man at the door dies because of a knife in his back before he can tell the girls the message he was sent to tell them. It doesn't take long before the girls soon discover that something is not right on the island of Abilene. Will the girls get to the bottom of things in Abilene or have they finally met their match? [10K Bullets]" 

"Kiss Me, Monster doesn't really have any monsters in it. There's a few dumb clones, but no monsters. There is a kind of spy story running underneath here somewhere, but […] the story doesn't really matter at all. This film is for Franco fans, and people who like swinging sixties cinema no matter how vacuous it is. [Permission to Kill]"
Trailer to
Kiss Me, Monster:
"Kiss Me, Monster is Jess Franco strictly in fun mode. This 1969 movie is a send-up of spy movies, seasoned with a healthy dash of psychedelia. The plot is obscure to say the least, but it doesn't matter. What matters is that it includes all the elements necessary for a movie like this — a mysterious secret society, a mad scientist and a secret formula. The movie also includes not one but two glamorous girl secret agents. Although they're really not that keen on being secret agents — they're hoping to break into show business. Being a Jess Franco film, there are also slightly weirder ingredients, like a sisterhood of whip-wielding 'queer virgins' and a method of sending secret messages by windmill. At least I think that's what they were doing with the windmill. The dubbing on the Redemption VHS edition is atrocious, but that actually adds to the fun. Janine Reynaud and Rosanna Yanni are delightful as Diana and Regina, the two intrepid female spies. Their performances add just the right extra touches of camp to the movie. Definitely not a movie to take seriously, and clearly not intended to be taken seriously, but a lot of fun. [Cult Movie Reviews]"
 


How Short Is the Time for Love
(1970, dir. Pier A. Caminnecci)

Original title, probably: Wie kurz ist die Zeit zu lieben, or perhaps Comme il est court le temps d'aimer— it was, after all, a Franco-German production. Janine Reynaud plays both Fabienne and Isabelle; two roles, obviously enough. Music by Jerry van Rooyen(31 Dec 1928 – 14 Sept 2009). Though Pier A. Caminnecci (25 July 1941 – 30 Dec 2013), who plays Manuel Ramedes in the movie, is credited as the director, voices out there claim that Michel Lemoine (30 Sept 1922 – 27 July 2013) assisted; aside from co-starring, Lemoine is also listed as scriptwriter.
We don't know the exact dates of when, but somewhere along the line, perhaps before this film or after, sleaze-actor/director Michel Lemoine and Janine Reynaud became husband and wife, though in all likelihood they had a somewhat open marriage. Between 1965 and 1978, the two worked on a total of 14 movies together.
When scripting How Short Is the Time for Love, Lemoine, who plays the character Franz in the movie, was supposedly assisted by the film's credited assistant director, the extremely productive "adult film" director/producer Jean-François Davy (Clockwork Banana [1973 / excellent soundtrack).]  In a 2002 interview, Jess Franco disavowed any involvement with the film and said, "Caminneci wollte mich als Regisseur, aber ich wollte nicht. Er drehte den Film dann selber, ich hatte nichts damit zu tun."
Music to the film,
set to scenes not from the film:
Almost no one who has seen the movie seems to find it worth writing about online, other than some guy named Joe Walker, who reveals little about the plot but that How Short Is the Time for Love is an ultra rare [more like forgotten] film from Aquila Film, the production company of Adrian Hoven and Pier A. Caminnecci. A race-track-set love story of slight morbidity and easy sleaze, it didn't initially find a distributor once completed. Lead lady and "femme fatale" Janine Reynaud plays a dual role alongside the striking face of South African Hans Meyer and, in her only film, Eva Hoffmann. The movie was synched in Berlin and has off-screen commentary. 


Blindman
(1971, dir. Ferdinando Baldi  [19 May 1917 – 12 Nov 2007]) 

"I want my fifty women."*
Blindman (Tony Anthony) 

*At least his doesn't ask for 72 virginswith "large, round breasts which are not inclined to hang, appetizing vaginas…."
"In Blindman, Baldi manages to hit on everything that you could possibly want from an exploitation film, with the exception of a car chase. [Video Junkie]" 
Trailer to
Blindman:
Original title: Il pistolero cieco. Janine Reynaud has a tiny appearance playing a prostitute (or possibly one of the brides) in this, her first and only appearance in a Spaghetti Western. (And the only reason why Boot Hill even nebtioned her death.) The movie, inspired by the famous Japanese character Zatoichi (a blind samurai) — go here for the final dance sequenceof our favorite version of the tale, Zatoichi (2003 / trailer) — is a cult fave and not just due to the sizable appearance of Ringo Starr. Italian director Ferdinando Baldi directed almost 40 movies in his life, including the 3-D fave Comin' at Ya! (1981 / trailer), basically a remake of Blindman, and the sci-fi flick Ten Zan: The Ultimate Mission (1988 / full movie), mildly infamous for being financed by and filmed in North Korea, but using western actors (Frank Zagarino!) and the English language. (There are claims out there that Ten Zan is Donald "Dottard" Trump's favorite movie after The Triumpf of Will [1935 / long clip].) The "original story" of Blindman, however, is credited to the movie's lead actor (and producer), Tony Anthony, who plays the titular Blindman.
Ringo Starr also wrote and recorded a song for this film, entitled Blindman, but it wasn't used. It can be found on the B-side of his single, Back Off Boogaloo. 
Ringo Starr's
Blindman:
Plot: "Blindman (Tony Anthony) is a blind gunfighter who rides a seeing-eye horse, Boss. He is contracted to provide safe transport for fifty European mail-order brides — who have asked miners in Lost Creek, Texas, for their hands in marriage — for $50,000, but his business partner, Skunk (Renato Romano of Dorian Gray [1970 / trailer]), betrays him by allowing Domingo (Lloyd Battista), a Mexican bandit, to kidnap the women for his own purposes. Blindman heads into Mexico in pursuit, where he discovers that Domingo and his sister, Sweet Mama (Magda Konopka of Satanik [1968 / Italo trailer]), are using the women as a lure for an Army General (Raf Baldassarre [17 Jan 1932 – 17 Jan 1995], of The Great Silence[1968]), who they intend to hold for ransom. With the aid of Pilar (Agneta Eckemyr, seen below on an old cover of Playboy), the unwitting object of Domingo's brother Candy's (Ringo Starr of Son of Dracula [1974 / trailer]) affections, 'El General', Boss and many, many sticks of dynamite, our anti-hero stops at nothing to get even with Domingo and his siblings, and deliver on his contract. [tanglefreak98@ imdb]"
The positive opinion: "Well-done Spaghetti and likely Tony Anthony's best effort in a Western. Oh, the plot is far from masterful, but Ferdinando Baldi serves up a Spaghetti that seems fresh and original. By 1971, that was no normal feat. You won't find many Spaghetti scenes more bizarre than the one in which the fifty mail-order brides, in white robes, are desperately running through the sand trying to escape Domingo's men as they ride down on them. Or Domingo coldly killing those who appear likely to escape. The film offers up some memorable lines, some lovely ladies, and some other memorable scenes. And one of the most brutal final showdowns you'll find. Before that, there's a wrestling match between Sweet Mama and the Blindman that's quite unique too. If there's a false note, it's the performance of Raf Baldassarre as the Mexican general who seems to laugh at everything, trying to lend a touch of comedy that really isn't needed and doesn't come off as very funny. [Once Upon A Time In A Western]"
The negative opinion: "Unbelievably stupid 'comic' spaghetti western that screams, gouges, yells, and shoots its jokes out. Anthony, one of the more unappealing lesser Italian stars, spends most of his time making a fool out of himself and then looking at the camera to let the audience know that he knows he's been very foolish. A complete waste of time, except for those who want to see Starr participate in one of the dumbest career moves in history. Let's hope that his role in this film wasn't a contributing factor in the breakup of the Beatles. [TV Guide]"


Frustration
(1971, dir. José Bénazéraf [8 Jan 1922 – 1 Dec 2012])

Written by "the French Tinto Brass", José Bénazéraf, and Janine Reynaud's husband, Michel Lemoine; Reynaud and Lemoine are also two of the three main actors of the movie. Aka: The Chambermaid's Secret, The Chambermaid's Dream, Frustrated Woman and other names — quite a number of AKAs, considering how obscure the movie seems to be.

Among other things, this psychological erotic movie is also noteworthy for an early, un-credited appearance of future Jess Franco and sleaze-film actress Pamela Stanford, and for the fact that the third lead of the movie, Elizabeth Teissier, "would eventually become the most heavily publicized mistress in France, to that country's president François Mitterrand".

The most common plot description found everywhere online: "A sexually frustrated woman, Adélaïde (Reynaud), living with her sister Agnes (Teissier, of The Bloody Rose [1970 / trailer]) and the latter's husband, Michel (Lemoine), is tormented by bizarre nightmares and violent erotic fantasies."  One or two online descriptions claim the women are actually a lady and her chambermaid.
Trailer to
The Bloody Rose:
"The dull atmosphere of an isolated house in winter is convincing: there is almost no sound, very few music, the dialogs are muted... It is almost a silent movie. Visually it is a color movie, and the color is used with some aesthetic ambition. Considered as an exploitation filmmaker, Benazeraf was ambitious, fascinated by the Austrian school of psychoanalysis, and he tried to put his ideas on film. In a way he was a Nouvelle Vague director, without the puritanism of his respectable colleagues, and with tits. "[chrismass61@ rate your music]"
Indeed, when it comes to José Bénazéraf, Women in Prisonsays: "José Bénazéraf's (Bordel SS [1978] and Adolescence pervertie [1974 / French trailer]) career began in the early sixties with sexy thrillers that established his reputation as a man to watch. Once upon a time he was the darling of the critics, his name a trademark for provocative and classy cinema. The New York Herald Tribune said he was 'as important as Godard and Resnais', and Henris Langlois, founder of the famous Cinematheque, announced that 'his films are like rivers carrying stones that are absolute gems'. But that was then, and now he's pretty much forgotten. His downfall came fast and can be traced to that period in the mid-seventies when censorship loosened, giving him the freedom to do exactly what he wanted, which meant move deeper into the taboo territory of eroticism… Frustration is one of his strongest films… as with Bunuel's Belle De Jour (1967 / trailer), which it resembles in some ways, there is no easy distinction made between fantasy and reality in Frustration."
Going by what jadavixsays at the imdb, this film is everything Franco's better-known Succubus (1968, see Part I) is not, including unknown: "Jose Benazeraf's Frustration is a superior example of a sexploitation film which is well-enough made to classify as an arthouse flick. The film's portrayal of the interior erotic life of a sexually repressed woman, whose fantasies turn increasingly disturbing, is handled better than anyone would have expected from a supposedly sleazy Euro exploitation flick. Even the nudity, of which there is much, is handled in a tasteful and non-exploitative way. Benazeraf's direction of the fantasy scenes, above all, is superlative. The cinematography in these scenes is subtle yet mesmerising. It is beyond me how Benazeraf isn't better known; perhaps this was his only decent movie: it certainly seems to be his best known. His tag as 'The French Tinto Brass' is ridiculous. Brass never had this much skill."
Somewhere along the line, Frustration has a VHS release entitled The Chambermaid's Dream, which makes the film look decidedly sexual. As VHS Collector points out, "Most of the Private Screenings titles are early 70's erotica films from Sweden. Nearly all of the women used on the cover art have nothing to do with the film itself." Indeed, the model below has more in common with Christy Canyon than any of the women in the movie.




Käpt'n Rauhbein aus St. Pauli
(1971, writ. & dir. Rolf Olsen [26 Dec 1919 – 3 April 1998])

Aka Nurses for Sale and, in Canada, as Captain Typhoon. Music by the great Gert Wilden (15 April 1917 – 10 Sept 2015). Supposedly Janine Reynaud appears un-credited in a blink-and-you-miss-her appearance as the "woman in cabin of yacht". 
Gert Wilden's music to
Käpt'n Rauhbein aus St. Pauli:
We looked at this movie in our R.I.P. Career Review of Heinz Reinke(28 May 1925 – 13 July 2011), where, back in 2011, we wrote: "The infernal trio — [Rolf] Olsen, [Curd] Jürgens and [Heinz] Reincke — just can't get enough of them St. Pauli girls! Add twenty minutes of exploitive padding* for the US version, and you have Nurses for Sale. (The literal translation of the [original] title would be 'Captain Roughneck from St. Pauli'.) The Vault of Bunchless says it didn't make it to the US until 1977 and points out the truth about the US poster: 'Not very well executed, this poster nonetheless shows off some of the classic elements that make an exploitation movie poster work [...]. Even if the movie sucked, the poster's a whole lot of fun.' Capt. Rauhbein (Jürgens) arrives in Hamburg to see his liquor cargo poured into the water by customs and the medical cargo stolen, for which he and his mate go to jail. They escape and go back to South America, where a bunch of nurses have been kidnapped by rebels.... Jürgens saves the day. Claimed by some viewers to be a not very funny comedy."
*Shot by Al Adamson (25 July 1929 – 2 Aug 1995), whose "life came to a brutal and untimely endat age 66 when he was murdered by live-in contractor Fred Fulford on August 2, 1995." (Go here for Fred Fulford's contact info.)
Curd Jürgens sings in
Käpt'n Rauhbein aus St. Pauli:
Since our R.I.P. look at Reinck's career six years ago, One Sheet Indexhas put online a fuller plot description of the Olsen & Adamson version of the movie: "A medical team is engaged to bring aid to a remote jungle area. In this group are several nurses from a big city hospital, whose wild reputations have preceded them on this trip. Once the team reaches the jungle, they are savagely attacked by a violent group of men who hold the nurses for ransom. The nurses are forced to endure all kinds of cruel torments and give in to the men in return for favors and possible escape. The captors do not allow the girls to go free and with the aid of a tough old ship's captain, the girls stage a break during which the kidnappers are brutally defeated. […] In Nurses for Sale Jürgens plays the part of a tough old ship's captain with a reputation for operating on both sides of the law. The supporting cast is filled with several attractive new female stars in the roles of the nurses who are held for sale at the highest prices. The film's surprising ending is both sensual and violent."
 
In regard to the German director of Käpt'n Rauhbein aus St. Pauli: "Rolf Olsen is one of the great unsung heroes of the German exploitation film industry, a name long and unjustly overlooked, if not forgotten. An actor, writer and director, by the time he retired in 1990 (he died in '98) he had a truly remarkable oeuvre of projects behind him. (One of the lesser projects that he participated in was Mädchen für die Mambo Bar [1959], in which he only acted.)"
You should check Olsen's directorial projects out, maybe starting with Bloody Friday (1972 / trailer) or his shockumentary, Shocking Asia (1976 / edited trailer), directed as "Emerson Fox"….
Radio advertisement for
Nurses for Sale:


The Case of the Scorpion's Tail
(1971, dir. Sergio Martino)

Original title: La coda dello scorpione. Janine Reynaud plays Lara Florakis in this mystery thriller (as in: giallo) by Italian exploitation master Sergio Martino, the director of Slave of the Cannibal God(1978) and so much more.
 
Plot: "Lisa Baumer (Ida Gali), makes love to her lover and in the sky above in an airplane with her husband Kurt Baumer (Fulvio Mingozzi of Kill and Pray[1967]) an explosive detonates killing everyone on board. A phone call awakens her with the bad news as she lay in bed with her lover. She is informed that her husband unknown to her had taken out a life insurance policy for $1,000,000 that named Lisa as his beneficiary. In order to collect on the policy she must fly to Athens for the release of the funds. In Athens after Lisa has collected her money she runs into some trouble when Lara Florakis (Janine Reynaud), Kurt's mistress wants a piece of the pie. Lisa is murdered by a blacked-gloved killer in her hotel room and he makes off with her money. Insurance detective Peter Lynch (George Hilton of Sam Cooper's Gold[1966]), helps Cleo Dupont (Anita Strinberg of Who Saw Her Die?[1972]), who photographed Lisa's murder as they set out to solve Lisa's murder."

Italian trailer to
The Case of the Scorpion's Tail:
The paragraph above is from10K Bullets, which later adds: "Janine Reynard death scene is my favorite murder set piece in a Sergio Martino film as her face pressed against a window looks contorted and grotesque." A thought echoed by Satanic Pandemonium, which says "Keep an eye out for the thoroughly strange-looking, yet voluptuous Jess Franco-regular Janine Reynaud. Surely one of the least attractive giallo ladies, she has a spectacular death scene where she has her throat slashed from behind as she's facing a window, which gets coated in bright red arterial spray."
"It's 45 minutes in … and most of the IMDB cast is already dead! […] You know how Bruce Banner always has on purple slacks and you wonder, 'Who wears purple slacks?' Peter does. […] If you're into late 60's/early 70's patterns and fashions, you may fall in love with this movie. […] Somewhere, Fulci was smiling. […] I'm rather glad this wasn't the first of Martino's giallo movies that I watched. It's very by the numbers where his other films seemed to try new stylistic touches. It's not a waste of your time, but in a world where we get so little of it, you may be better off watching something else. [B&S About Movies]"

Soundtrack to
The Case of the Scorpion's Tail:
Au contrar, says DVD Drive-In: "The Case of the Scorpion's Tail is another well-mounted thriller in the hands of Sergio Martino, despite some laughable special effects that include a toy airplane exploding in place of the real thing, and a painfully fake prosthetic dummy of a woman's body being slashed. While arguably not as successful as The Strange Vice of Mrs. Wardh (1971 / trailer), this still benefits from an intelligent, unpredictable script (which, like Psycho [1960 / trailer] switches heroines much to the viewer's surprise) and some good character performances, namely by Hilton and the charming Swedish bombshell Anita Strindberg, who goes topless several times to show off her surgically enhanced assets (see below, looking very plastic in A Lizard in a Woman's Skin [1973 / trailer]). The murders are surprisingly brutal, with one victim getting his eye gashed out with a piece of a broken bottle. The blaring score by Bruno Nicolai is a true highlight and ranks with the best ones that Ennio Morricone did for similar Italian thrillers of the period."


Je suis une nymphomane
(1971, dir. Max Pécas [25 April 1925 – 10 Feb 2003])
The original title, Je suis une nymphomane, literally translates into I Am a Nymphomaniac, which is a title found on at least one DVD release. Other examples of the movie's numerous English-language titles include Forbidden Passion, Libido, The Sensuous Teenager, and The Urge to Love.
The decidedly non-teenager Janine Reynaud plays Murielle in this, the second movie she made with director Max Pécas (see: "The Black Hand" [1968] in Part I). It would seem "from Denmark" promised more at the time than "from France".
Max Pécas co-wrote this one with fellow forgotten sleazemonger Claude Mulot (21 Aug 1942 – 13 Oct 1986), director of The Bloody Rose (1970 / trailer), one of many unofficial remakes of the classic Eyes Without a Face (1960 / trailer). "[Claude] Mulot accidentally drowned at the early age of 44 while his screenplay On se calme et on boit frais à Saint-Tropez (French trailer) was being shot by Max Pécas in Saint-Tropez in 1986." Again, Reynard's husband Michel Lemoine is onscreen at her side. 
Eurotika – I am a Nymphomaniac:
The Erotic Films of Max Pecas:
The plot: "Carole (Sandra Julien) is unhappy with her family and her life and doesn't like sex. But after she falls down a staircase,*she discovers that she has a body and becomes addicted to sex. She hates what she's become, but is compelled to have sex with anyone that will comply. Her parents put her out and her work soon takes her to France where things start escalating out of control, because Paris is the city of all vices. [imdb]"
*Interestingly enough, no two reviews can agree whether she falls down steps orfalls down an elevator shaft. But immaterial of whether a staircase or shaft, were the key event that drives this movie in any way based on reality, heterosexual men across the world would be pushing women down stairwells or elevator shafts.
Je Suis une Nymphomane"is a strange French story that sees Carole (Sandra Julien), a young, frigid provincial woman who becomes a self-declared nymphomaniac after she falls down a lift shaft (huh?). Her parents throw her out and she travels to Paris where she falls in with a group of libertines [including Reynard & Lemoine] and struggles with her depressing desires for sex. It is difficult to know whether director and co-writer Max Pécas (along with Claude Mulot) are making a serious film or whether it is a simple soft-core romp. It seems to veer in tone on a regular basis and the director seems to view it as a comedy — which may be lost in the English translation and the odd voice over. Taking it as a piece of straight-forward sexploitation, however, it works reasonably well. It is nicely shot with plenty of sensual soft focus sex, all billowing curtains and lightning storms. Sandra Julien is excellent in the lead role — beautiful and entertaining in everything she does. Janine Reynaud is also good, but some of the other cast is fairly wooden. Although it is difficult to completely define exactly what Je Suis une Nymphomane is and what it is trying to say, it is still and entertaining piece of French eroticism. [Calum Iain MacIver @ Letterboxd]"
Scenes from
Je suis une nymphomane:
At the imdb, barnabiesees the flick as being a serious exploration of the topic: "Nymphomaniac [is] surprisingly quite good in its issue, and is definitely not a comedy as tagged in some reviews. A young girl becomes addicted to sex after an accident. Carole […] hates what she's become, but is compelled to have sex with anyone that will comply. Her work soon takes her to France where things start escalating out of control. After a suicide attempt she is helped by a priest (Yves Vincent [5 Aug 1921 – 6 Jan 2016]) and her doctor, and is diagnosed as having psychological problems and that her illness is curable. Although the movie featured soft-core gratuitous sex scenes (soft-core by today's standards), attention is bought to a rare illness that isn't always recognized as an illness. Some decent acting from Sandra Julien (some of the other characters seemed a little wooden) and an interesting storyline, I enjoyed this movie quite a lot and gave Nymphomaniac 7 out of ten."
Sandra Julien (born Sandra Calaputti), the wife of French actor Pierre Julien (Children's Play aka Un jeu d'enfants [2001 / music] and Jean Rollin's typically Rollin-like Schoolgirl Hitchhikers aka Jeunes filles impudiques [1973 / trailer]), began her short five-year career in French (s)exploitation films as the lead actress in Jean Rollin's Le Frisson des Vampires aka The Shiver of the Vampires (1970 / trailer) and ended it with the unknown western Les Filles du Golden Saloon aka The Girls of the Golden Saloon (1975 / music). She followed up her turn as a nympho the following year, 1972, in Max Pécas's equally serious (?) study (?) of frigidity entitled Je suis frigide... pourquoi?— translation: I Am Frigid... Why? — which Radley Metzger brought to the US as Let Me Love You (full movie). French poster below.



Human Cobras
(1971, dir. Bitto Albertini [14 July 1924 – 22 Feb 1999])
Original title: L'Uomo Più Velenoso del Cobra. Bitto Albertini uses the pseudonym Albert J. Walkner for this not-quite-a-giallo mystery thriller starring Erica Blanc but featuring Janine Reynard as Clara. Clara dies, strangled with a cord while the hero takes a shower.

Bitto Albertini (as "Albert Thomas") made Laura Gemser famous by casting her in Black Emanuelle (1974 / main theme/ trailer), whom he replaced with Shulamith Lasri by the time he got around to his fiasco Black Emanuelle 2 (1976 / full moviein Italian). He ended his directorial career doing mondo documentaries like Naked and Cruel aka Nudo e crudele (1984 / full shockumentary) and Mondo senza veli aka Naked and Cruel 2 aka World without Veils or Mondo Fresh.
Stelvio Cipriani's music to
L'Uomo Più Velenoso del Cobra:
The plot: "Gangster in exile Tony Garden (George Ardisson [31 Dec 1931 – 11 Dec 2014] of The Long Hair of Death [1964 / trailer] and so much more) leaves Stockholm for New York on learning his twin brother John was murdered. Reunited with his late brother's sexy widow, Leslie (Erica Blanc of Kill Baby Kill [1966 / trailer], The Devil's Nightmare [1971 / trailer], and so much more), Tony punches his way through old underworld contacts to uncover who was responsible. All the while shadowed by a mysterious razor-wielding stranger who murders anyone that gets too chatty. A clue scrawled with the victim's own blood eventually lures John and Leslie from New York to Nairobi in Kenya in search of answers from John's flamboyant business partner George MacGreaves (Alberto de Mendoza [21 Jan 1923 – 12 Dec 2011] of Horror Express [1972 / full movie] and so much more). However, the homicidal stranger follows them there. [The Spinning Image]"
Along the way, John and Leslie take time off to shoot some elephants. Definitely not cool.
"For some reason unbeknownst to me, Human Cobras has been labeled as a giallo by many outlets, […]. Nothing could be further from the truth though, and to be quite honest I'm not sure what genre the film really belongs in. For the first half, while there are no cops involved, it most closely resembles a gritty, albeit weak, poliziotteschi, but by mid-film when the group are in Africa, things almost take on a tone reminiscent of an old Universal serial. Sadly, even with all of these elements that make it standout, there isn't a lot going on in Human Cobras that makes it worth recommending. […] The biggest sin Human Cobras lays claim to however is its terribly underdeveloped and cliché-ridden story, which offers little in the way of answers about most everything. [Infini-Tropolis]"

Opening credits:
Cinezilla, on the other hand, says: "I'm glad that I gave the movie a shot, especially with my aversion towards Albertini in mind, because while I thought it would be a great movie to nod in and out of on the couch, it caught me off guard me by being an entertaining little piece that engaged me, lured me in, and had me thinking along the wrong lines on a few occasions. Something that doesn't happen all too often, but gives me a kick when it does."


Les désaxées
(1972, writ. & dir. Michel Lemoine)

Aka Marianne Bouquet and Pleasure and Desire. Janine Reynaud plays Francis in this movie written and directed by her husband, who also plays the part of Michel. The titular Marianne is played by Claudia Coste, whose brief career was one of extensive onscreen nudity. 
Main theme to
Les désaxées:
The English-language version released as Marianne Bouquet is a hardcore version with pulsating and ejaculating inserts and added scenes with Eileen Welles and John Seeman (of Hardgore[1974]). The original was, of course, softcore — unlike Michel Lemoine's own 1983 remake of this movie, Ardeurs perverses aka Hot Bodies, which was 100% original hardcore and starred the mighty member of French porn stallion Gabriel Pontello(a poster of one Pontello's other movies is directly below).
Plot to Marianne Bouquet: "She Needed Him... But She Couldn't Wait. Marianne, the beautiful wife of Michael, loves her husband very much, but Michael cannot resist the lure of illicit sex. His sexual escapades are seemingly endless. Marianne's faithfulness has its limits and when she meets and beds the handsome Philip (François Cannone), she must make a decision... to wait for the man she married to return to her or start her life anew with someone else. [Classic Porn]"
Janine Reynaud hits on a girl in
Les désaxées:
"Typical 70s erotica, when sex was seen as liberation and experience. It is soft (in 1972 censorship was there ...), the music […] is groovy, the dialogs try to be highly literate (and generate some giggles), sets and costumes are from their time, and, last but not least, actresses are beautiful. Michel Lemoine (an exploitation actor with crazy cat eyes) directs and acts in it, with his wife, Janine Reynaud. As always in the films from that time, under the liberated message lies a more conventional one: free sex is great, but true love and fidelity greater. [chrismass61 @ rate your music]"
Janine Reynaud dancing in
Les désaxées:
"Les désaxées is however a stunningly photographed erotic drama about a philosophical philanderer named Michel (intriguingly played by the enigmatic Lemoine himself) who drags his not altogether willing wife Marianne (exquisite brunette Claudia Coste who would subsequently fade into a life of bit-part obscurity) into a series of carnal affairs with members of both sexes, with ultimately tragic results. Statuesque Janine Reynaud […] has never been displayed to greater advantage as she performs the most memorable frivolous feats as horny fashion model Francis, so named because her parents wanted a boy! She becomes Michel's amorous accomplice when the uptight Marianne bows out, ruining a perfectly good match when she too expresses desire for love and monogamy […]! While the movie may appear dated with excessive attention paid to then fashionable furniture and accouterments, the elaborate erotic encounters still pack a passionate punch […]. Literally fleshing out the cast are several long forgotten skin starlets of this pioneering period, several of whom would turn up in the filmmaker's following films [...]. Lemoine loosely remade this story in a hardcore version […]. The original remains his best overall achievement though, coy though it may seem in the age of unlimited Internet porn, an unabashedly melodramatic carnal classic well worth revisiting. [Dries Vermeulen @ imdb]


The Felines
 (1972, writ. & dir. Daniel Daërt)
Original title: Les félines. Also known as, according to some websites, as Caged Desires and The Cats. The art for the poster above is by Nancy Villagran, one of the better porn film posters artists of the seventies. (Here's her poster for Hot Teenage Assets [1979] — and more examples at Westgate Gallery.) Anyone know what happened to her?
Plot: "Oliver (Jacques Insermini) has a wife and a mistress (Pauline Larrieu of Bananes mécaniques [1973 / soundtrack below]) — quell surprise!! Maude (Janine Reynaud), his wife, decides to let him have his fun as long as she can control them. She brings Florence (Nathalie Zeiger of Successive Slidings of Pleasure aka Glissements progressifs du plaisir [1974 / trailer] and Seven Women for Satan aka Les week-ends maléfiques du Comte Zaroff [1976 / trailer]), a very attractive 18 year old, to live with them and to seduce Oliver. The plan works, and Oliver soon gives up his mistress for the younger Florence. As the plot develops, Florence not only captivates and controls Oliver, but Maude as well. [UniFrance]"
Soundtrack to
Bananes mécaniques (1973):
Despite its advertising campaign in the US as the first French porno to hit the US uncut, the movie was once again an arty softcore film that had hardcore sex inserts added for its US release.
The working wiener of the movie is that of Eric Edwards (Rialto Report interview from 2013), while the female receptacles include Nancy Dare of Zebedy Colt's (20 Dec 1929 – 29 May 2004)Unwilling Lovers(1977 / 2.47 minutes) and his The Devil Inside Her(1977 / full X-rated movie), as well as two notable Golden Age projects, the repulsive Sex Wish(1976 / edited trailer), starring Harry Reems, and Through the Looking Glass(1976 / scene) and Darby Lloyd Rains (of Dark Dream [1971 / softcore trailer], with Harry Reems, Voices of Desire [1972 / full X-rated movie] and Naked Came the Stranger [1975 / non-X trailer]).
 


Erotic Confessions of a Bed
(1973, writ. & dir. Michel Lemoine)

Original title: Les confidences érotiques d'un lit trop accueillant. Janine Reynaud in another movie written and directed by her husband, this time a sex comedy in which she appears playing Maurice's mistress.
Credits and music:
Plot: Dominique (Olga Georges-Picot [6 Jan 1940 – 19 June 1997]) runs into Jean-Louis (Michel Le Royer), her former boyfriend, and invites him to come have a drink at home. Her round bed piques his curiosity and Dominique tells him the history of her bed, one of stories of love and sex.
Released in 1973, Les confidences érotiques d'un lit trop accueillant"a naughty little comedy"—plays out as almost like an anthology film. Think "Love, French Style" instead of Love American Style (1969-74 / song).
Fat asshole (Jacques Insermini)
slaps Reynaud around:
"The Lemoine household must have been going through a rough patch at the time, as the director cast his spouse and all-time class act Janine Reynaud in what must surely rank as the least glamorous role of her career, appearing with her magnificent red mane done up in curlers at the hairdresser's and solidly slapped around by future hardcore stud Jacques Insermini, her husband from Felines! Just past 40 at the time and still a world-class beauty with screen presence to spare, she suffers the additional narrative indignity of having to battle for her portly lover's favors with Marie-Hélène Règne (Schoolgirl Hitchhikers aka Jeunes filles impudiques [1973 / trailer), a little blond upstart half her age! Creamy Martine Azencot and her incredible rack [seen below from Michel Lemoine's Les week-ends maléfiques du Comte Zaroffaka Seven Women for Satan (1976 / trailer)], burnt on this reviewer's retina since their twin appearances in Lemoine's best film Les Desaxees (1972 / see above), again leave an indelible impression in a tasteful group grope, Mikey taking full advantage of his perpetrator's privileges by putting himself at the center, squeezing them tickets like a man possessed (!) set to the strains of Wagner's Tannhaüser. Ah, nothing like a bit of culture to get the juices flowing! [Dries Vermeulen @ imdb]"
More credits and music:
Olga Georges-Picot, seen below on an old cover of Adam, flourished briefly as a Euro sex symbol and had notable roles in movies as diverse as Woody Allen's Love and Death (1975 / trailer) and Basil Dearden's The Man Who Haunted Himself (1970 / trailer).
A sufferer of severe depression spells, on Thursday, 19 June 1997, in Paris, France, Olga Georges-Picot killed herself by jumping from the 5th floor of an apartment building. Splat.




The Bitches
(1973, writ. & dir. Michel Lemoine)
Original title, Les chiennes; aka, Le Manoir aux louves. Janine Reynaud plays one of the lead roles, that of Viriane, a bored and wealthy bourgeois. Based on a novel by the Belgium author Jean Breton (16 Sept 1930 – 16 Sept 2006). The title, like the well-drawn poster illustration, wonderfully misogynistic. The aka title of the "Manor of the Wolves" (Le Manoir aux louves) somehow makes the film sound so much more interesting…

First seven minutes of
The Bitches:
The plot, as found all over the web: "A wealthy bourgeois (Reynaud), bored on her immense property, to pass the time engages a gigolo (Michel Lemoine) to answer all her wishes, from the most unfulfilled to the most hidden ... But when the man takes an interest in the sister (Nathalie Zeiger of Successive Slidings of Pleasure aka Glissements progressifs du plaisir[1974 / trailer] and Seven Women for Satan aka Les week-ends maléfiques du Comte Zaroff [1976 / trailer]) of his boss, the latter becomes very jealous."
Once again, Dries Vermeulen at the imdb seems to be the only English-speaking person who's seen the film and thought it worth writing about: "Les chiennes represents […] Michel Lemoine's most ambitious undertaking in the gradually unfolding Continental skin-flick trade. […] Its lukewarm critical and commercial response caused him to temporarily abandon involved narrative structures in favor of the genre's more familiar, loosely knitted vignette format […], until his return to form with the jaw-dropping Les week-ends maléfiques du Comte Zaroff [aka Seven Women for Satan (1976 / trailer)]. As the movie meat market demanded ever more explicit fare, Lemoine moved with the times, assuming the porn name of 'Michel Leblanc' for a series of above average hardcore titles, many of them starring Polish Marilyn Monroe lookalike Olinka Hardiman […].
Music Video to Facing the Night (Zak B remix),
featuring Olinka Hardiman excerpts:
"A well-liked B movie actor throughout the '50s and '60s […], Lemoine's decision to cast himself in the male lead was probably not as narcissistic as it might seem. Still, filling the role of macho adventurer Eric, who takes a job as male 'companion' […] in order to fund his next worldwide expedition, makes him extremely vulnerable to not altogether unjustified howls of derision. Summoned to the mansion of a prospective client, the mysterious and notoriously hard to please Viriane […], he's initially dismissed with little fanfare until he creeps into her bedroom at night to, well, 'convince' her of his abilities by strapping her to the four-poster with matching scarlet scarves and thoroughly ravishing her. […]
"A series of kinky parlor games ensues with a collection of story-book archetypes revolving around the central couple, like the disfigured gamekeeper Pierre (wild-haired Yves Marouani), who Viriane admits was a former lover for the course of one summer, and adoring girl servant Lisbeth (breathtakingly beautiful, exotic Latana Decaux, who sadly seems to have fallen below radar after this single shot at sex stardom), who jumps at Viriane's slightest for a chance to share her well-frequented bed. Complications arise however when Viriane's kid sister, the apparently innocent though equally perfidious Tessa (scrumptious Nathalie Zeiger […]), comes home to visit from boarding school. […] Tessa soon decides her sibling's hired hand should take her maidenhead, an offer he finds impossible to pass up. Predictably, tragedy strikes as this tale's evil queen unleashes her all-consuming wrath, with a cruelly ironic twist.
"For most of the film's running time, Lemoine manages an effectively otherworldly atmosphere, […] every dark nook and cranny of the castle and its fog-shrouded grounds [imbued] with a sense of impending doom, and composer Guy Bonnet […] providing myriad orchestral variations on a single hauntingly romantic theme. The acting's generally competent if a tad wooden, something of an inevitable consequence of the overblown dialog that was presumably lifted ad verbatim off the written page and might have choked more talented thespians than these. Lemoine at least largely looks the part, with Reynaud and Zeiger offering intriguingly contrasting versions of desirable yet deadly womanhood. […] Marie-Hélène Regne […] shares a most memorable threesome with the Lemoines in the stable, partly shot through the horse's legs! The director always seems to be on the look-out for ingenious ways to frame the sex, mirror-reflected images apparently a particular favorite, making the movie look decidedly dated, a curious relic of irretrievable times gone by."



Pénélope, folle de son corps
(1973, writ. & dir. Alain Magrou [1936 – 16 Dec 1997])

Janine Reynaud took time off from acting in her husband's movies to take on the title role of Pénélope in this forgotten — if not lost — art-house exploitation movie.
From the film,
in Italian:
The plot, as loosely translated from a French websiteby computer (so 100% fidelity is guaranteed): "On a normal island in the Glénans, Penelope (Reynaud) is waiting for her husband, Ulysses (Sean O'Neil), who's fishing off the coast of Dakar. To pass the time while he's gone, she willingly and unremorsefully gives her body to the four friends of her husband. However, one night where her lips are locked with those of the lighthouse keeper longer than usual, the lighthouse is not turned on in time and an English yacht, piloted by Typhaine (Philippe Gasté), shipwrecks. On board: two young British virgins, Eunie (Nyl Clottu) and Pamela (Cathy Reghin). Typhaine is seduced by Penelope, but it is the two passengers who discover love, one with a portly salty seaman, the other with a rabbit hunter. The return of Ulysses, sees the master of the island claiming his Penelope and the three travelers leaving…"

The movie is, obviously enough, very loosely inspired by the legendary Greek king of Ithaca, Ulysses aka Odysseus, the main character of Homer's epic poem the Odyssey. And "loosely" is indeed the word, for in the poem Penelope stands out for her fidelity to Odysseus during the 20 years he was absent, despite all the men after her hand (and muff, one assumes). Indeed, that is why the name Penelope is traditionally associated with marital fidelity.
 
Music to the movie:
The music, by the way, was composed by François de Roubaix (3 April 1939 – 22 Nov 1975), who also did the music to a much more famous movie well worth watching, if you have not yet seen it: Harry Kumel's classic Daughters of Darkness (1971 / trailer). 


Les petites saintes y touchent
(1974, writ. & dir. Michel Lemoine)
According to an online translation program, the original title translates into something like "The Normal Sacred Touch". Re-released in France as Jeunes filles en extase (as in: "Young Girls in Ecstasy").
Perhaps this movie shouldn't even be included in this career review, for Janine Reynaud is never even seen in it: she merely lends her voice at one point as that of Joan of Arc — a voice most likely replaced in the subsequent releases in the few countries the movie travelled to, like Germany and Italy. But the posters are too quaint to just completely ignore… 
 
In Germany it was marketed as one of the many "Report" films (e.g., "Schoolgirl Report", "Housewife Report", etc.), in this case The kleinen Scheinheiligen – Klösterschulerinnenreport— or, roughly, "The Little Goodie-Goodies – The Convent Girls School Report". A title that gives away the final joke of the movie. 
 
Les petites saintes y touchent is basically an anthology movie of diverse soft-core sex scenes featuring nubile that look indefinitely better than any of the men they bed (in movies like this, the men never bed the girls — that would ruin the male fantasy that makes such movies so attractive to their core audience: horny young men). And much like the anthology horror films of Amicus and Hammer, Les petites saintes y touchent opens with the gathering of those whose tales will be told: here, a bunch of hot young things, who, depending on what you read where, are either returning to school or taking the vows to enter the convent. And one by one their tales are told: "A sequence of perverse adventures", featuring a fake Englishman (Robert de Laroche), a sailor, a seducing female teacher (Aurore Benny), a girl (Maria Mancini) with three boys, and "a very simple lesson in which you learn that 2 x 2 is 4"… (Again, as the plot is derived from a computer translation, 100% fidelity is guaranteed.)
 
Two seconds of culture: "Get thee to a nunnery, go. Farewell. Or, if thou wilt needs marry, marry a fool, for wise men know well enough what monsters you make of them. To a nunnery, go, and quickly too." 
 
The music is by Guy Bonnet. "Bonnet was a modestly successful singer who actually represented his native country twice on the Eurovision Song Contest, in 1970 and 1983, ending up in 4th and 8th place respectively." He also wrote the French song performed by Isabelle Aubret in 1968.
Guy Bonnet performing at
the 1983 Eurovision Song Contest:


Rêves pornos
(1975, Max Pécas [25 April 1925 – 10 Feb 2003])
 
Aka Dictionnaire de l'érotisme, directed by "Octave Jackson". Often confused with Radley Metzger's 1964 movie The Dictionary of Sex, but the two do not seem to be the same film despite the similarities of the posters — a clue, perhaps, that Pécas was inspired by Metzger, who in turn was known to purchase and release Pécas's movies in the US. Whereas Metzger mined the movies of others to cut together his quasi-documentary, Pécas simply cut together scenes from his own movies. Indeed, according to eMovie Posters, "This film was created by editing the 1971 film Libido: The Urge to Love (aka Je suis une nymphomane & with Janine Reynaud — see further above), and the 1972 film Let Me Love You(aka Je suis frigide... pourquoi? — see poster below)."
And going by the VHS cover we found (seen further below), either he had already made some hardcore movies to use ("100% HARD"), or he or someone else added some inserts.
The imdb offers a "plot", which reads more like the framing device it is: "A young woman (Sylvia Bourdon) reads through a dictionary. Each time a certain word (orgy, caress, peeping-tom, lesbos, trio, suicide...) catches her eye, she thinks of what would happen if this word came to 'life'."
German-born Silvia Bourdon, "the ugliest woman in 70's French porn (who later went on to become the ugliest woman in early 80's Hollywood porn)", is also found in Jean Rollin's Suce-moi vampire aka Suck Me Vampire (1976) and his Lèvres de sang aka Lips of Blood (1975 / woodenstakes) — not all that surprising, seeing that the former is merely a porn version of the latter. According to Wikipedia, "Since 2008 she runs a company promoting French technological innovations in Saudi Arabia, India and Russia." (A sentence to make grammar fascists grind their teeth.) 



Tire pas sur mon collant
(1978, writ. & dir. Michel Lemoine)
Five years after Janine Reynaud's last "real" appearance in a movie (1973's Pénélope, folle de son corps), she worked as script supervisor and took on a normal part as Mme de Tourville in another sex comedy written and directed by her husband. She isn't mentioned on the poster. We couldn't find any aka-titles…
Somewhere along the line and probably after this movie, as Boot Hillpointed out, "Lemoine and she divorced and she married Herbert [F.] Hamilton from Texas and lived in Sugar Land, Texas, a suburb of Houston. Apparently Hamilton died or they divorced and Janine returned to France where she lived and died in Oradour-Saint-Genest."
Indeed, Hamilton & Reynaudmarried in Fort Bend County, Texas, U.S.A., according to Sorted by Name; perAncient Faces, they married on August 16, 1984. Sugar Land, by the way, is the largest city within that county.
The possible plot of Tire pas sur mon collant: Joëlle (Vanessa Vaylord, also seen in The Tenant [1976 / trailer]) and Béatrice (Corinne Corson), two secretaries and good friends, live together in Montmartre. Due to a mix-up, they get invited to Marrakech, instead of their boss's daughter. For two weeks at their hotel, they entertain themselves by seducing young men...
Music to the movie was supplied by Hurricane FiFi, otherwise known as Rene Parker. And while we couldn't find any song online that we could definitely claim comes from the movie, we did find the Hurricane FiFi song below, complete with a naked and in-her-prime Brigitte Lahaie on the cover.
Disco down with
Hurricane FiFi:



Call Him Jess
(2000, dirs. Manel Mayol & Carles Prats)
 
Original title: Llámale Jess. A documentary on the great Jess Franco (12 May 1930 – 2 April 2013) written by Mayal & Prats and Joan Ferré. To say that Janine Reynaud participated in this documentary is an overstatement: she is merely one of the many actresses and actors — alongside Adrian Hoven (18 May 1922 – 28 April 1981), Klaus Kinski (18 Oct 1926 – 23 Nov 1991), Christopher Lee (27 May 1922 – 7 June 2015), Soledad Miranda (9 July 1943 – 18 Aug 1970), Ewa Strömberg (13 Jan 1940 – 24 Jan 2013), and so many more — found in the various clips taken from Franco's films that are edited into the film. The real talking heads of the project are Franco himself and Lina Romay(25 June 1954 – 15 Feb 2012).
Jesus (or Jess) Franco is one of the great names in B movies. With a number of pseudonyms (Clifford Brown, David Khunne, etc...) and a filmography including over 170 titles, it is extremely difficult to catalogue and categorize his work, despite the existence of many retrospectives and studies in both Europe and the United States. Jess began his career as an assistant director, the high point of which was working with Orson Welles (6 May 1915 – 10 Oct 1985), whom he admired greatly. Jess himself became well known in 1961 with The Awful Doctor Orloff (1962 / trailer), a horror film which instantly became a classic. […] From that moment his international career took off, his credits include The Diabolical Dr Z (1966 / trailer), Lucky the Inscrutable (1967 / opening credits), Count Dracula (1970 / subtitled trailer— see: R.I.P. Herbert Lom), Vampyros Lesbos (1971 / trailer) and Succubus (see Part I). […] In this documentary, arguably the most significant work about this director, Jess Franco speaks openly about his films, himself and his understanding of the world of cinema. He is, essentially, a director who defies conventional categorization […]." [FFC]"
Manfred Hübler & Siegfried Schwab's great music
is of course also found in Call Him Jess:

Janine Reynaud — May She Rest In Peace

1922 (USA, 2017)

$
0
0


"I discovered something that night that most people never have to learn. Murder is sin. Murder is damnation. But murder is also work."
Wilfred James

Wow! Imagine that! A Stephen King movie that doesn't just not suck, but is even somewhat good. But 2017 seems to have been a good year for good King adaptations, as among the six adaptations made (two TV series, The Mist [trailer] & Mr Mercedes [trailer]; two feature films, The Dark Tower [trailer] & IT [trailer]; and two NETFUX films, Gerald's Game [trailer] and this flick), only two — The Dark Tower and The Mist— are seen as failures of varying degree. That said, we probably wouldn't have bothered with 1922 had we known it was a King adaptation… and thus missed a relatively good movie.
Based on a Stephen King novella of the same name, 1922 is much more a slow burn psychological crime-cum-drama with heavy shades of horror than a straight-out horror movie. In general, the entire feel and tone of the narrative and movie is closer to, say, Fyodor Dostoevsky's Crime and Punishment than any given revengeful ghost flick. Indeed, one could argue that any and all revengeful ghosts that appear in 1922 are less true unworldly apparitions than the guilt-fevered hallucinations of the movie's main protagonist, Wilfred James (an unrecognizable Thomas Jane in his third appearance, after the suck-ass Dreamcatcher [2003 / trailer] and excellent The Mist [2007 / trailer], in a Stephan King movie). True, the rats are physical and real — at least the ones that eat the dead body or attack the innocent cows' udders or chomp on Wilfred's hand are — but the ghosts, as creepy and realistically presented as they might be and despite the closing line of the movie, straddle a fine line between yes-they-are and no-they-aren't real… the final decision, we would argue, lies squarely in the viewpoint of the viewer.
1922 is set in rural Nebraska, a decade before the Great Depression and the Dust Bowl joined forces to wipe out the independent small farmer. Wilfred James is one such independent and proud farmer, though not too simple to read American Classics of ages gone by — who out there has read George Eliot's Silas Marner or Nathaniel Hawthorne's  House of the Seven Gables instead of just the Cliff Notes? (Hell, who out there still reads books, much less the classics? Today's educated American seldom gets further than Twitter.) Both are books which, in their own narratives, echo such themes as guilt and retribution and reconciliation as found lacing 1922 (and, at least in the case of the last, Wilfred is doomed never to achieve).
But though he might read such books, Wilfred obviously does not learn from them. Married to Arlette (an always excellent Molly Parker), a woman he despises as much as she him, she finally sees a way to leave the hated farm and husband she got shackled to due to youthful horniness (use condoms, kids) when she inherits 100 acres from her father. Wilfred, in turn, covets her land and, when confronted with the possible loss of his son Henry (Dylan Schmid of Horns [2013 / trailer]) should she truly abscond, turns to murder to keep everything he so wants.
While the reason behind the murder is convincing enough, where the movie fails (but luckily doesn't collapse) is in Wilfred's involvement of his own son in the act: Henry's participation is as unbelievable as his supposed 14 years of age (the actor being and looking 18 years old). That a father might involve his son in killing is believable enough — see: Joseph Kallinger, the shoemaker — but the ease with which Henry is manipulated into helping to killing Arlette, his obviously loving mother, in 1922 is conducted with a speed and haste seldom seen even in real-life families where maternal abuse is a daily given. In Henry's case, it takes little more than his Dad's verbal argumentations, the threat of an unwanted move and loss of girlfriend, plus a drunken maternal warning about premarital pregnancy and a facial slap for being sassy to make him kill a woman that had, one feels due to a few photos and expressive glances, never shown anything but maternal love and care for him. Perhaps in the book, where the temporality passes at the rate of one's mind's eye instead of at a movie's running time (and the impressionability of youth is likewise not negated by the visual age), Henry's decision is more believable, but to believe it as it occurs within the film requires some suspension of belief.
When the murder finally occurs, both Henry and his father learn, much like Prof. Michael Armstrong (Paul Newman) in Torn Curtain (1966 / trailer), that killing someone is no easy thing. It would seem, however, that even if you get away with it, living with your deed is even harder. (See, again: Crime & Punishment.) The two manage to continue like normal for the harvest, but come fall the slow rot of their souls overtakes them and life becomes one stumble after the other, forever deeper into damnation and loss.
As much the movie fails in making Henry's participation believable, it succeeds elsewhere and remains engrossing to the end. The mise-en-scene rings true from the start to the end, with the slow decay of the farm doing well in reflecting the parallel emotional state of Wilfred. The acting is equally noteworthy: Molly Parker does a good job is presenting a woman stuck in and smothered by a life she never wanted, and her facial blankness as a blood-spattered ghost/hallucination is of far greater expressive effectiveness than any moaning and groaning and grimacing could ever have been. Dylan Schmid is, as mentioned, far too old for his role to be truly successful, but he remains a likable if not somewhat intellectually dim presence whose fate, like that of his pretty girlfriend Shannon Cotterie (Kaitlyn Bernard), is both tragic and inevitable. Even tertiary and quaternary roles like Wilfred's neighbor (and Shannon's father) Harlan Cotterie (Neal McDonough of Star Trek: First Contact [1996 / trailerand Ravenous [1999 / trailer]) and/or the town sheriff Jones (Brian d'Arcy James) achieve a believability that belies both the limited amount of time they are on screen and the banality of their well-worn figures.
And as Wilfred, Thomas Jane excels: unrecognizable and convincing, both in accent and in presence, he proves himself to be a much better actor than in any of his prior film projects we've seen him in, with the possible exception of his turn as a hot-headed asshole cop in the mis-set Under Suspicion (2000 / trailer https://www.youtube.com/watch?v=gyPkbZ_kmEg). In 1922, he proves himself a man who, should he choose to follow that path, could well come to excel as a character actor far beyond the on-and-off success he's had as a semi-name, occasional lead actor.
In any event, if you're in the mood for a period-set, non-trashy, well-made and well-acted movie with excellent production design, you won't do too badly by watching 1922. We watched it simply because it looked like the best option of all the movies our trash-hating, female significant other — in a fit of NETFUX-offer overdose — was flipping through. It turned out to be a movie that, for a change, we both enjoyed… something that generally only occurs when we watch kiddy or animated films.

Der Mönsch mit der Peitsche (Germany, 1967)

$
0
0



German Trailer:
Aka: The College Girl Murders & The Prussic Factor. (Spoilers — but skip the first paragraph plot description and you skip the spoilers.) 

Der Mönsch mit der Peitsche opens with two chemists inventing a deadly gas that seemingly only kills those who immediately and directly inhale it (so if you're to the left or right, chill). Chemist one kills chemist two with the gas and, when delivering his invention to the contractor, is in turn killed by a hooded, whip-bearing monk. (Karma's a bitch.) Mr. Mysterious Contractor then arranges for jailed cons to escape for a day to kill various girls of a boarding school near London with the gas, the first time using a specially built Bible which releases the gas into the face of the innocent girl during mass, the remaining times with a rather bulky spray gun. (Oddly enough, while the Bible actually released a gas, the spray gun seemingly spurts masses of liquid, easily a hundred times the amount of poison used in the first two murders.) Inspector Higgins (Joachim Fuchsberger) and Sir John (Siegfried Schürenberg of The Avenger[1960], The Inn on the River[1962], The Indian Scarf[1963]andThe Hand of Power[1968]) investigate, but are unable to stop further murders. The victims soon include various teachers, the writer Mark Denver (Harry Riebauer), and a few other unimportant people; some die by gas, a few get shot, some get their neck broken by the well-aimed whip of the hooded monk. While Sir John is busy ogling girls and trying to solve the crime from a "psychological aspect", the clues Higgins follows convinces him that the young, soon-to-inherit-a-lot-of-money Ann Portland (Uschi Glas, who also had a small part in Der unheimliche Mönsch [1965 / trailer])is also in line to be killed. A dead con, a machinegun-bearing chauffer, and a kidnapped damsel in distress later, Ann Portland survives to inherit, secret identities get unmasked, and the bad guys mostly die…

Der Mönsch mit der Peitsch is the forth film based on its original source, a play entitled The Terror, which Edgar Wallace transcribed into the novel form in 1929, a year after director Roy del Ruth made the first pre-code film version of the "gothic" thriller in 1928. Like the written versions, that movie was entitled The Terror, and, according to Denis Gifford's Pictorial History of Horror Movies, del Ruth's film, the second full-length talkie ever made, is also the first sound horror film ever made.* (Too bad it's a lost film.) A commercial success — and, according to Gifford, an artistic one, too del Ruth's version of The Terror inspired two eventual remakes: Howard Bretherton's criminal comedy The Return of the Terror(1934), a sequel of sorts starring Mary Astor and Lyle Talbot (and featuring J. Carroll Naish), and the far more serious (and true to its source) British production directed by Richard Bird four years later, again entitled simply The Terror (full movie). 

*Elsewhere, it is merely claimed to be the second talkie released by Warner Bros & the first talkie horror…. By the nature of its plot, that would also make it the first talkie body-count flick. 

Twenty-seven years later, producer Horst Wendlandt had his scriptwriters create a new, more than slightly altered version of the story for his final black-and-white Wallace film production, Der unheimliche Mönsch aka The Sinister Monk (1965 / trailer). Excellently directed with creativity and professionalism by Harald Reinl [8 July 1908 – 9 Oct 1986] and starring his wife, the beautiful Karin Dor [22 Feb 1938 – 6 Nov 2017]** (in her last appearance in a Rialto Wallace film), the earlier B&W version was an artistic and critical success, so it is hardly surprising — though definitely saddening — that Wendlandt chose to let the basic premise be regurgitated a second time in color two years later as the creative air began to go out of the Rialto series. But in all truth, even the stalest of the Rialto Wallaces, especially those still made in Germany,*** are always enjoyable in their own madcap, totally psychotronic way. The same can be said of this off-the-wall movie here. 
**He should have stayed married to her: "In 1986, in his Tenerife retirement home, he was stabbed to death by Daniela Maria Delis, his alcoholic [second] wife and a former actress from Czechoslovakia." 
*** The final movies of the series, made as Italian co-productions, are better enjoyed as tacky giallothan tacky Rialto Wallaces, but almost all will leave you wanting more.

The 1967 color version of The Terror, nee Der unheimliche Mönsch, was renamed Der Mönsch mit der Peitsche and made and released between the two more enjoyable Rialto Wallaces, Die blaue Hand (1967 / trailer) and Der Hund von Blackwood Castle (1967 / trailer), both of which were also directed by Alfred Vohrer and written by Herbert Reinicker. Der Mönsch mit der Peitsche is really not only not as good the two other Rialto productions from 1967, but it is also not just a luridly colored, third-rate rehash of the far more artistically satisfying B&W version. In fact, even if, as a whole, Vohrer's version of the story begins to display the trademark laziness and slap-dash quality of his later, often almost unbearable cinematic mistakes, the general tackiness and campiness makes the ridiculous flick fun. By now, Vohrer was well on his way to his "mature" burlesque style that he took to the extremes in the utterly ridiculous but funny Der Gorilla von Soho (1968 / trailer) and the generally less satisfying and intermittently funny Der Mann mit dem Glasauge (1968 / trailer), which has perhaps one of the worst endings of all the German Wallace movies. 

The saving graces that make Der Mönsch mit der Peitsche enjoyable as a bad movie are easy to list: the neo-Pop color scheme, the totally idiotic story, the occasionally scurrile visuals, and the bat-shit crazy narrative are total weirdsville. If you always thought the only thing Batman: The Movie (1966 / trailer) needed to be a good movie was dead nubiles and skin and more second-rate James Bond interiors, then you'll like Der Mönsch mit der Peitsche. 

Among the enjoyable highpoints of the movie's saving graces: the whip-bearing monk dressed completely in red does indeed look cool, the general carnal attitudes the men display towards the young girls of the boarding school is oddly perverse (and totally un-PC by contemporary standards), the swimming pool with a below surface viewing window is hilarious, the candlelit villain's lair full of huge fish tanks complete with sea turtles and big fish is impressive, and Martin  Böttcher's score is noteworthy as being one of his best. 

Nevertheless, by this time director Vorher was one of the busiest directors around (between 1966 and 1969, he averaged roughly 2.5 feature films a year), so the direction, while occasionally flashy, looks rushed and a bit lazy. This does its damage, and almost stops the exceptionally illogical and unbelievable from transcending its faults, despite some excellent casting. In the end, however, age has been kind to the movie, as all that which is now outdated adds a whole new layer of fun. Der Mönsch mit der Peitsche makes for excellent viewing with the kiddies or when stoned or on other mind-altering substances. 

Much like the substantially better Im Banne des Unheimlichen aka The Hand of Power(1968), this movie is often seriously on another planet, one called Goofy Prime, and thus can be enjoyed as a total piece of inanely colored and coiffured pop trash. If you know nothing about German Wallace films, have never seen one before, but are a fan of luridly colored kitsch 60s Eurotrash, this baby will surely give you a hard on (or, as the case may be, make you wet).

On the other hand, if you tend to the more gothic, horror-tinged Wallace flicks or German krimis, keep your distance from Der Mönsch mit der Peitsche.

R.I.P. Maria Rohm, Part I: 1964-67

$
0
0


13 August 1945 – 18 June 2018

We were so busy putting together Part II of our career review of cult actress Janine Reynaud that the passing of another cult beauty of the 60s slipped past us: Vienna-born Maria Rohm (nee Helga Grohmann), talented cult actress and wife of British independent film producer and screenwriter Harry Alan Towers (19 Oct 1920 – 31 July 2009), went the way of the wind at the age of 72 in Toronto, Canada, the home of Bruce McArthur. Rohm, who began her acting career as a child stage actress, seems to have begun her film career at the age of twenty playing a prostitute in a 1964 film, but soon after she married producer Towers (also in 1964) he began putting her in many of his projects, including nine different movies directed by Jess Franco (12 May 1930 – 2 April 2013). She retired from acting in 1976, but like her husband remained active as a producer.  
Let's take a look at her movies...


Teufel im Fleisch
 (1964, writ & dir Hermann Wallbrück)

Maria Rohm's feature film debut as a prostitute. As far as we can tell, this German languageproduction was released in the USA in 1967 as Devil in the Flesh. In Germany, it recently even had a DVD re-release — German language only. German sources generally list this movie as a 1963 production.
German trailer to
Devil in the Flesh:
Director Wallbrück is a bit of a mystery: his oeuvre seems limited, the earliest credit being as cameraman for a German comedy entitled Das Bad auf der Tenne (1943 / credits), the third feature-length, full color film production in Nazi Germany (though the fourth to be released); Goebbels supposedly wasn't too fond of the film due to the "sparsely dressed ladies", but the film was a hit.
Post-war, Wallbrück showed up next in Austria. According to Robert von Dassanowsky in his book Austrian Cinema, A History: "The third [post-war Austrian] film of 1946 was Schleichendes Gift / Slow Poison [poster above], an "enlightenment" film by the German director and cinematographer Hermann Wallbrück on the post-war venereal disease epidemic."
And it is to this topic, venereal disease, that Wallbrück returned to in what seems to be his fourth and final directorial credit, Devil in the Flesh. Interesting names in the cast are above all the females: Ruth Gassmann, who went on to star in the classic German "enlightenment" films of the 60s,  Helga (1967 / trailer), and it sequels Helga und Michael(1968) and Helga und die Männer – Die sexuelle Revolution (1969 / poster below), and the singer-actress Dunja Rajter, who is found in both one of the best Rialto-produced Edgar Wallace films, Der unheimliche Mönch (1965 / German trailer), as well as an infamous movie considered one of the all-time worst ever made in Germany, Christian Anders' unforgetable Die Brut des Bösen /Roots of Evil (1969 / trailer). The male lead, Aleksandar Gavric [28 May 1932 – 6 Dec 1972], is also found in one of the better forgotten films about war and joy girls, Valerio Zurlini's Le soldatesse / The Camp Followers / Women at War (1965 / full subtitled film).
The text at Videobuster(like the German trailer voiceover) is properly sensationalistic: "The fear of an unwanted child disappears, and the high risk of sexually transmitted diseases increases. A topic that cannot be any more pressing than it is now. Shocking pictures show the viewer the cruel magnitude of diabolical, sexually transmitted diseases. This movie changed Germany. It received extensive press coverage, and was highly praised by the highest political offices."
For that, at 2001, the Das größte Filmlexikon der Weltmore or less says: "A German medical team is dispatched to the tropics of Africa to study the spread of venereal diseases brought in by white colonizers. Under the excuse of 'we care', viewers are presented an awkward, pseudoscientific storyline and documentary footage about the situation of sexually transmitted diseases in Europe and Africa. A speculative snapshot without any relevance and lasting educational effect."


Mozambique
(1964, dir. Robert Lynn)

The German poster above is by August Hoff, about whom we could find nothing. Mozambiqueis one of producer Towers' first feature-film productions after working for almost a decade producing programs for TV; he turned to director Robert Lynn (9 June 1918 – 15 Jan 1982) as his director.
Robert Lynn was primarily active on TV or as a second-unit and/or assistant director, but he occasionally took the helm and directed a feature film alone. The result was competently directed, entertaining flicks like this one orCoast of Skeletons(1965). Producer Harry Alan Towers (as "Peter Welbeck") supplied the "original story" from which the professional, Aussie-born scribe Peter Yeldham created a screenplay. (Among his other scripts: And Then There Were None[1965] and The Liquidator [1965 / trailer].) Towers' young wife, Maria Rohm, makes an uncredited appearance — don't blink — as "young woman at bar" ("wearing a very vivid shade of lipstick").

Trailer to
Mozambique:
DVD Drive-Inhas the plot: "Rumpled, down-on-his luck American pilot Brad Webster (Steve Cochran [24 May 1917 – 15 June 1965], of The Beat Generation [1959 / opening scene]) can't get arrested in Lisbon, after cracking up his plane and killing everyone aboard. He can't get arrested, that is, until he gets arrested in a bar fight, giving Police Commandant Commarro (Paul Hubschmid, aka "Paul Christian" [20 July 1917 – 31 Dec 2001], of The Beast from 20,000 Fathoms [1953, see: Ray Harryhausen] and The Day the Sky Exploded [1958 / trailer]) a chance to blackmail Webster into taking a job in Mozambique for the mysterious Colonel Valdez. Why? Well, Commarro makes the plan appear to be his way to get troublemaker Webster out of Lisbon, but really he's using Brad for bait. Webster's new employer, Colonel Valdez, has made millions of pounds sterling selling drugs to Zanzibar, and the only way the money can be traced to its Swiss bank locations is through a coded sheet that Commarro hopes to ferret out, with Brad's unwitting help, after Valdez's lawyer was zapped in Lisbon. However, once Brad arrives in the city of Lourenco Marques in Mozambique, he finds out Valdez is dead, and three people are vying for his smuggling empire: his beautiful, tortured widow, Ilona (Hildegard Knef [28 Dec 1925 – 1 Feb 2002], of Die Mörder Sind Unter Uns [1946] and Witchery [1988 / trailer]); his second-in-command, greasy Da Silva (Martin Benson [10 Aug 1918 – 28 Feb 2010], The Strange World of Planet Xaka Cosmic Monsters [1958 / trailer], Gorgo[1961 / trailer] and Night Creatures [1962 / trailer]); and friendly competitor Henderson (Dietmar Schonherr [17 May 1926 – 18 July 2014], of Das Geheimnis der chinesischen Nelke / Secret of the Chinese Carnation [1964 / German trailer], Das Ungeheuer von London-City / The Monster of London City [1964 / German trailer] and Die Nylonschlinge / Nylon Noose[1963 / German trailer]). Brad now has to figure out what cargo he'll be flying around Africa (take a guess), while also trying to find Christina (Vivi Bach [3 Sept 1939 – 22 April 2013]), the attractive blonde singer he met on the plane to Mozambique. You see, naive Christina didn't realize she was hired by Valdez to be a hooker in his night club, so when she's carted off to Zanzibar by a horny sheik (Gert van den Bergh [16 Oct 1920 – 16 Feb 1968] of The Naked Prey [1965 / trailer]), Steve has to rescue her as well as crack the case of Valdez's murder."
The critical view: "At least the outdoor scenery is good. That's basically my assessment of this Harry Alan Towers production about organized crime in Portuguese Africa. Filmed on location, Mozambiqueis a spy thriller that simply falls flat in producing any sense of intrigue or excitement. [Mystery File]"
The song sung by Hildegard Knef in Mozambique,
Das geht beim ersten Mal vorbei:
The forgiving view: "Actually shot in the country of its name […] Mozambique has some seriously politically incorrect charms. Cochran […] was approaching 50 at this point and looked like a retired boxer. Seeing him paired up romantically with adorably sexy 20-something actress Hildegard Kneff [sic] is quite amusing. From the moment they meet on a plane her character starts hitting on him. The oily Da Silva is played for all its sinister Latino stereotypes with gusto by Benson. There's also a white slavery ring with the creepy Da Silva selling hot white girls to a nasty Arab tycoon/sheik and my personal anti-PC lottery winner — a killer dwarf. The movie tries and fails miserably to ape Hitchcock but it does swing a gorgeously mapped out climax shot on Victoria Falls — which has our hero dangling from a bridge while assassins (and a hot Teutonic blonde, natch) try to pick him off. […] As a bit of a soundtrack aficionado, I'm in love with the marvelous Johnny Douglas score that accompanies Mozambique. Simultaneously groovy and evocative and period perfect, it oozes sex appeal and lifts the film above its station more than once. […] Slightly ludicrous. Dated. Sexist. […] But if you dig groovy 60's escapism and get a kick out of the Harry Alan Towers fun-loving worldview, there's a lot of enjoyment to be had here. [Rock! Shock! Pop!]"
Regarding legendary screen heavy and ladies man Steve Cochran, Mozambique was his last movie. Over at the imdb, Gary Brumburgh has the details to Cochran's demise: "In 1965, Steve hired an assortment of ladies for an 'all-girl crew' to accompany him on a boating trip to check out locations for an upcoming film he was to produce and star in entitled Captain O'Flynn. Leaving Acapulco on June 3rd, the boat encountered extremely stormy weather and Steve's health, which was not good in the first place (he took ill while filming Mozambique and failed to see a doctor), quickly took a turn for the worst. He died of an acute lung infection and was dead for nearly a week when his drifting schooner and the girls (one of whom was several years under-age) was rescued from the ocean near Guatemala on June 21st. A fitting if not troubling end for the one-time he-man Hollywood star."
And while we don't know where Vivi "The Danish Bardot" Bach and Dietmar Schonherr met— that's them directly above — they married in 1965.
From the movie — Vivi Bach sings
Hey Boy, geh' deinen Weg! (Hey You!):


Twenty-Four Hours to Kill
(1965, dir. Peter Bezencenet [15 June 1914 – Sept 2003])
Set in Lebanon, filmed in Lebanon: Towers' young wife, Maria ("Marie Rohm") Rohm, plays Claudine — she works for "The Firm". The real stars of the movie are the slumming Mickey Rooney (23 Sept 1920 – 6 April 2014) and Lex Barker (8 May 1919 – 11 May 1973). The latter was always a bigger name in Europe than the US. In her autobiography, Detour: a Hollywood Tragedy — My Life With Lana Turner, My Mother (1988), Cheryl Crane claimed that he sexually assaulted her several times while he was married to her mother. Nice guy.

Scene with
Lex "Big"Barker:
Oh, yeah: Barker's stewardess gal pal is played by Helga Sommerfeld(5 March 1941 – 28 Sept 1991), who's also found in the Bryan Edgar Wallace krimi, Das Phantom von Soho (1964 / German trailer). That's her doing cheesecake directly below, found at one of Quentin Tarantino's favorite websites, WikiFeet.
The plot, as more-or-less supplied at the German language website Remember It For Later: "On a flight to Athens, technical problems force pilot James Faulkner (Lex Barker) to land in Beirut. While most of the team is dazzled by the unexpected visit to the metropolis, flight attendant Norman Jones (Mickey Rooney) is less is thrilled. What his colleagues don't know: for years he was employed as a messenger for Beirut-based smuggler Malouf (Walter Slezak [3 May 1902 – 21 April 1983], of Hitchcock's Lifeboat[1944 / trailer]), from whom he stole 40,000 British pounds. It doesn't take the gangster boss long to find out that Jones is back in the city… in desperation, Jones appeals to his colleagues for help, without telling them of his criminal past. They now have to survive the next 24 hours until the machine can start again..."
The Movie Scene, which says that "Twenty-Four Hours to Kill is one of those movies which when you watch for the first time you will quickly become fascinated by […] but it isn't the sort of movie which you will find a desire to watch more than once," also says: "When someone says the words Beirut, I tend to think of 'war-torn Beirut', the words so frequently used on the news whenever a journalist was there giving a live report. So it is interesting to come across Twenty-Four Hours to Kill, which takes us to a very beautiful Beirut before the war-torn part became synonymous with its name. The irony is that the Beirut shown in this 60s movie is not that different to other Middle Eastern locations used in other movies during the 60s, but because this is a Beirut so few of us will have ever seen it adds something extra to the movie and what a beautiful place it was."


City of Fear
(1965, dir. Peter Bezencenet)
Towers' young wife, Maria Rohm, works with Peter Bezencement again in what seems to also be his last directorial project; a former film editor, he seems to have left the film biz after City of Fear. The movie is clearly a Marissa Mell vehicle. (Go here for a fun Melissa Mell fanblog.) Co-scripter Max Bourneseems never to have written another screenplay.
 
Though a Austro-British production, the only plot description we could find was in German at Italo Cinema, and it reveals plot developments that just don't fly in the contemporary world (the following translation is loose): "The American journalist Mike Forster (Paul Maxwell) is waiting for his flight to Budapest at the Vienna Airport when he meets and gets in a conversation with a stranger named Ferenc (Pinkas Braun [7 Jan 1923 – 24 June 2008] of Mission Stardust [1967 / trailer], Im Bahn des Unheimlichen[1968], Der Bucklige von Soho [1966 / German trailer] and much more). Ferenc tells of his sister's deathly ill child who needs a serum that isn't available in Budapest. He tries to convince Mike to smugger the small package over to his sister, as Ferenc, as a refugee, cannot. The name and phone number of the woman are on a piece of paper. Before he can say no, Ferenc has disappeared again, so Mike has no other choice but to do as requested. Arriving in Budapest, the journalist loses the piece of paper with the address. Since it could be a matter of life and death, he gets an announcement broadcast on radio Budapest, whereupon soon after a mysterious woman named Ilona Kovacs (Marisa Mell) shows up at his hotel. As they talk, Mike becomes increasingly suspicious and finally checks the contents of the package. To his astonishment, inside are two American passports issued to Ilona and her father (Albert Lieven [23 June 1906 – 22 Dec 1971] of Das Geheimnis der Gelben Narzissen  [1961] and Gorilla Gang [1968 / trailer])…"
Das größte Filmlexikon der Weltdismisses the movie as a naïve agent film with a much-too-lacking story.
In the book Harry Alan Towers: The Transnational Career of a Cinematic Contrarian, author Dave Mann opinions that City of Fear is "a tentative and ill-made venture filmed in Austria and Hungry": "This time the McGuffin is a package containing false passports to enable dissidents to escape from behind the Iron Curtain. In order to satisfy the requests of both American and Austrian sponsors, British-based Canadian Paul Maxwell starred opposite former star Terry Moore then on the way down and Austrian Marisa Mell then on the way up. Shot in B&W, like the other Towers film directed by Peter Bezencenet, Twenty-Four Hours to Kill, City of Fear is essentially a rehash of countless episodes of British spy series […]."


Our Man in Marrakesh
(1966, dir. Don Sharp)

Trailer to
Our Man in Marrakesh:
Aka: Bang! Bang! You're Dead! Once again: story by Towers, script by Peter Yeldham, and Towers' young wife, Maria Rohm this time in an uncredited appearance as "Woman in Carriage". We took a quick look at this movie seven years ago in our blog entry R.I.P. Donald Sharp.
There, we wrote: "Retitled Bang! Bang! You're Dead! for its US release. The New York Times says "Films like Bang, Bang, You're Dead helped kill the movie career of Tony Randall in the mid-1960s"— but who ever believes The New York Times? [Hey, if Donald "Dotard" Trump doesn't, why should you?] This euro-spy persiflage possesses a must-see relevance best summed up simply with: 'Tony Randall versus Klaus Kinski.'
Web of Mystery calls it 'One of the best of the 60s Euro-Spy cycle,' pointing out its great cast which, aside from Randall and Kinski, also includes Herbert Lom(99 Women [1969 / trailer]), Wilfrid Hyde-White (The Third Man [1949 / trailer]), Terry-Thomas (The Abominable Dr Phibes [1971 / trailer]), Margaret Lee (Venus in Furs [1969 / trailer])and a delectable Senta Berger (Sherlock Holmes & the Deadly Necklace [1962]).
Bang! Bang! You're Dead! is basically a low budget riff on North by Northwest (1959 / trailer) but set in Marrakesh, with Randall playing an innocent oil company rep (verses Cary Grant's ad executive) who gets caught up in a plot involving 2 million bucks bribe money to fix UN votes."
Among the many films Margaret Lee seen below, not from this film — made, 11 were with Klaus Kinski — the last of which is the wonderfully sleazy La bestia uccide a sangue freddo (1971), aka Slaughter Hotel. She pretty much retired thereafter, but for a rare appearance.
Trailer to
Slaughter Hotel:


The Million Eyes of Su-Muru
(1966, dir. Lindsay Shonteff)
Towers' young wife, Maria Rohm, finally gets a larger part (but no name on the poster) in this adaptation of a Sax Rohmer (15 Feb 1883 – 1 June 1959) novel. Rohmer, born Arthur Henry Sarsfield Ward, was one of the most successful and well-paid English-language authors of 1920s and 30s, his success built upon his famous personification of the decidedly non-racist (NOT!) concept of the "the Yellow Peril", Dr. Fu-Manchu, whom he introduced to the world in 1913 with the novel, The Mystery of Dr. Fu-Manchu.
Rohmer went on to write 15 Fu-Manchu books — some of which Harry Alan Towers was to later adapt, if extremely loosely. After Towers' first Fu-Manchu film,The Face of Fu Manchu (1965 / trailer), Towers also turned to a later and possibly somewhat less-known Rohmer character, a female counterpart of Fu-Manchu named Su-Muru, whom Rohmer had introduced in 1950 in the novel Nude in Mink / The Sins of Su-Muru and eventually featured in five more novels. (Both characters, of course, existed beforehand in other forms — i.e., radio and/or serials. Indeed, Nude in Mink was a novel form of the Su-Muru radio series of the late 40s.)
Trailer to
The Million Eyes of Su-Muru:
Canadian director Lindsay Shonteff (5 Nov 1935 – 11 March 2006) is now unjustly forgotten, but in his day he worked on a number of fun low budget movies ranging from agent to horror to sex. He began his illustrious career by directing the Richard Gordonproductions Devil Doll (1964 / trailer) and Curse of the Voodoo (1965 / trailer) and ended it with satire Angels, Devils and Men (2009 / trailer).
While Maria Rohm gets a lot of screen time as Helga, the right-hand breasts of the titular evil babe Sumuru, the true female star of The Million Eyes of Su-Muru is, of course, Shirley Eaton (of What a Carve Up! [1961 / full film] and And Then There Were None[1965]). As Classic Film and TV Cafépoints out, Shirley Eaton "retired from acting in 1969 [after doing the sequel to this film, which we look at later] to raise her family. That hasn't kept Ms. Eaton from becoming a sculptor and photographer, penning an autobiography (1999's Golden Girl), publishing a book on poetry, and appearing at film conventions." In an interview conducted with the said website in 2014, Ms. Eaton said, "After I finished The Million Eyes of Su-Muru and [the sequel] The Girl from Rioand was coming home in the plane was when I made the decision to quit. I hated being away from my baby Jason and his brother Grant! However, I did enjoy being the wicked lady Su-Muru in two rather bad films, which I had not had the chance to be before. I do believe they have become cult films now."
The Million Eyes of Su-Muru was filmed at the Shaw Brothers studios in Hong Kong and stars, as the good guys, Frankie Avalon (of Panic in Year Zero! [1962 / trailer], The Haunted House of Horror [1969 / trailer, with Jill Haworth], and more) and gay heartthrob George Nader (19 Oct 1921 – 4 Feb 2002, of Robot Monster [1953 / trailer]).
George Nader
gets a girl:
The plot, as found at the Science Fiction, Horror and Fantasy Film Review: "Su-Muru (Eaton) leads an all-female army and has a plan to conquer the world by sending her women out to seduce the world's most powerful men. However, one of her girls has committed the ultimate betrayal — fallen in love — and so Su-Muru sends a team to kill her in Rome. British Intelligence persuades CIA agent Nick West (Nader) to go to Rome to investigate because the murdered girl was an aide to the Sindonesian military chief Colonel Medika (Jon Fong). There Nick and his playboy friend Tommy Carter (Avalon) are plunged into action when Medika is abducted and killed by Su-Muru's girls. West and Tommy are then sent to Hong Kong where West is asked to masquerade as the Sindonesian President Boong's (Klaus Kinski*) new security chief. Instead, West is snatched and taken to Su-Muru's nearby island base where she persuades him to help Helga (Maria Rohm), one of her girls, get close to Boong in order to assassinate him. A spanner is thrown in the works when Helga decides she cannot go through with her mission and wants to flee Su-Muru's organisation."
*"The sexual abuse claims levelled against Klaus Kinski by his daughter Pola make it clear that cinema fans have deified a monster. The evil that he oozed on the silver screen has now been retroactively authenticated by his alleged depravity. [Spiegel]"
Fantastic Musingslaments, "Poor George Nader! Not only is he saddled here with some of the lamest comic one-liners ever written, but he also receives lower billing than Frankie Avalon, who plays what amounts to (for all practical purposes) his sidekick. Not only that, most of the audience is probably too busy ogling the beautiful women to pay any attention to him, and then Klaus Kinski comes along in a cameo and out-acts the rest of the cast. [...]"
I'm in a Jess Franco State of Mind, however, infers that the film is "entertaining and visually stylish" and that "fun is the key word here", adding that Su-Muru "owns an island undermined with high explosives and populated by a crack army of female assassins dressed in black tights. We see plenty of bare midriffs but no nudity. Boot and leather fetishists will have no complaints and watching Eaton whip a chained-up Nader is camp fun of the highest order. Su-Muru's dream is a world dominated by women where Love is a capital offense. That seems just fine with Nader as he takes every chance to get into a hot clutch with every Su-Muru operative in reach."

Five Golden Dragons
(1966, dir. Jeremy Summers)

A German/British coproduction shot on location in Hong Kong, it is the first of four films Jeremy Summers (18 Aug 1931 – 14 Dec 2016) was to direct for Harry Alan Towers. Previously, Summers directed the rather dated Gerry and the Pacemakers feature film, Ferry Cross the Mersey (1965 / trailer/ song). As to be expected, though set in Asia and featuring five bad guys — the titular Five Golden Dragons — everyone is Caucasian. At least on the German poster, Maria Rohm is finally listed. She plays the leading lady Ingrid; the bigger female name, Maria Perschy ([23 Sept 1938 – 3 Dec 2004], of The Ghost Galleon [1974 / trailer] and so much more), who plays Ingrid's sister Margret, bites the dust, thus making Ingrid the leading lady be default.

Trailer to
Five Golden Dragons:
Five Golden Dragons is often sold as an Edgar Wallace movie, but it hardly qualifies as such: Towers simply wrote a Wallace character, Commissioner Sanders (Rupert Davies [22 May 1916 – 22 Nov 1976], of Frightmare [1974 / trailer], Sapphire[1959], Witchfinder General[1968], and so much more), into the movie and Viola! The film became a Wallace movie although it isn't really based on anything he wrote.

From Five Golden Dragons
Yukarito Ito sings:
Over at the generally non-critical website Aveleyman, some guy named Scott Palmer reduces the plot to the following: "Often amusing little mystery/adventure picture starring Bob Cummings (9 June 1910 – 2 Dec 1990) as an American playboy in Hong Kong. After a man named Porter is pushed off a rooftop to his death, the police discover a note in his pocket addressed to Bob Mitchell (Cummings). The only thing in the note is the cryptic message 'Five Golden Dragons'. Mitchell encounters murder, intrigue and beautiful women…."
"You could be forgiven for expecting Five Golden Dragons to be a knock-off of the 1960s Fu Manchu series, given the title, the Hong Kong setting and the involvement of Fu producer Harry Alan Towers, director Jeremy Summers and star Christopher Lee. In fact, this is a very different kettle of fish, being more in the tradition of the Bond-inspired spy spoofs that littered the decade […]. As such, it's a bit of an oddity — needlessly convoluted with far too many characters (seemingly, the need to cram in as many recognizable names as possible was more important than plot cohesion) and having an uneasy mix of comedy and action. It has that odd Euro co-production vibe to it as well, here made even more uneven by the Hong Kong connection. The result is a film that is never boring, but which really fails to hang together. [...] Eventually, we get to meet four Dragons — a marquee-busting and budget-friendly brief appearance from Christopher Lee, George Raft, Brian Donlevy and Dan Duryea, who presumably did a day's work and got a holiday in Hong Kong out of it. The identity of the fifth Dragon is the film's big mystery — the solution to this makes no sense at all, given that none of the Dragons know each other anyway. [...] But if you forget about wanting any sort of storyline and simply sit back to enjoy the sheer ridiculousness of it all, then this is enjoyably wacky. It's the sort of film that couldn't have been made in any other decade, the somewhat camp, lightweight nature of the narrative giving it a curious innocence. There's violence, but nothing too graphic; sexiness, but no sex. [From: Reprobate]"
"A largely forgotten film despite its big name cast, Five Golden Dragons is an effective little thriller that will keep you on the edge of your seat first time around, and has enough interesting direction and storyline to keep repeat viewings interesting. Viewers just wanting to see Kinski, Donlevy, etc. will probably be disappointed, but the film should prove of general interest to cult movie fans and comes recommended. [From: Mondo Esoteria]"
Ninja Dixonis more right than wrong when he gushes, "Harry Alan Towers was a genius. I've never been bored watching a Harry-movie. Sometimes they've been bad, but still entertaining and good quality. Five Golden Dragons is a very charming and witty thriller set in Hong Kong, and who deserves much more attention. [...] But the main reason to watch this movie is Robert Cummings. The guy's a blast and with the wrong actor in this role the comedy would be terrible. But it's not, thanks to destiny, Towers and whatever reason Robert was cast."
The third sexy babe of the movie is once again Margaret Lee, as Magda, a nightclub singer who proves to have more up her sleeve than one initially thinks. In the clip below, of her performing at the club, she speaks briefly to Peterson, played by one Austria's more versatile character actors, Sieghardt Rupp (4 June 1931 – 20 July 2015). He began his film career as "Tommy Rupp" in the rather obscure Mädchen für die Mambo-Bar(1959), and is perhaps best known internationally for his juicy part in A Fistful of Dollars(1964).
Margaret Lee sings
Five Golden Dragons:


The Vengeance of Fu Manchu
(1967, dir. Jeremy Summers)

As always, the Science Fiction, Horror and Fantasy Film Reviewhas a concise plot description: "Fu Manchu (Christopher Lee) abducts a missionary doctor (Wolfgang Kieling[16 March 1924 – 7 Oct 1985]) and forces him to surgically turn one of Fu Manchu's Dacoits into a double for Sir Dennis Nayland Smith (Douglas Wilmer). The double is substituted for Sir Dennis and, under hypnotic command, kills Sir Dennis's maid (Mona Chong). As 'Sir Dennis' is placed on trial and sentenced to be executed, England reels in shock. Fu Manchu makes plans to disrupt the world by substituting doubles for the police commissioners of other countries."

Trailer to
The Vengeance of Fu Manchu: 
This is the second movie of four that Jeremy Summers was to direct for Harry Alan Towers, all with Maria Rohm on the cast. The German poster at the top of this entry was created by Ernst Litter (5 July 1918 – 27 Dec 2006), "one of the favorite and most productive poster artists from the 40s to the 60s"; between 1946 and 1968, he created around 600 different film posters for the German-language market.The poster was later recycled for the English-language release of the next Fu Manchu movie, The Blood of Fu Mnachu (1968).
Somewhere in the movie, the since-retired starlette Suzanner Roquette appears as the character Maria, a fact we mention only so we have reason to use her photograph below — not from the movie, obviously enough..
The Vengeance of Fu Manchu is the third British/German co-production in the Fu Manchu series, and the first to be filmed in Hong Kong. In the UK, it was released on a double-bill with Lindsay Shonteff's The Million Eyes of Su-Muru. Maria Rohm gets poster credit on most posters, no matter what land. As Ingrid, a nightclub singer, she sings in the movie, but her singing voice is supplied by Samantha Jones.
Not from the film —
Samantha Jones sings My Way:
Trivia: Christopher Lee (Dr. Fu Manchu), Tsai Chin (Lin Tang) and Howard Marion-Crawford (Dr. Petrie) are the only actors to appear in all five Fu Manchu films. As Nayland Smith, Douglas Wilmer [8 Jan 1920 – 31 March 2016], who made this and the preceding movie, The Brides of Fu Manchu (1966 / trailer), and had replaced Nigel Green ([15 Oct 1924 – 15 May 1972] of The Face of Fu Manchu [1965 / trailer]), was in turn subsequently replaced by Richard Greene(25 Aug 1918 – 1 June 1985) for The Blood of Fu Manchu (1968 / trailer) and The Castle of Fu Manchu (1969 / trailer).
TV Guideshares a tale about the movie that seems more like a tall tale than anything else: "Shot in color, the picture was mysteriously released in the US in black-and-white. […] The Chinese extras, according to Christopher Lee, were by no stretch of the imagination inscrutable; one pushy extra, who tried to be in every scene, was actually killed by his colleagues for his rudeness. Hollywood, take note."
"[…] In Vengeance, the third and most violent entry in the series, […] producer Harry Alan Towers, again scripting as 'Peter Welbeck," errs in having Lee, Wilmer, and the delirious central plot take a backseat to uninteresting supporting characters, like various gangsters (Horst Frank and Peter Carsten), an FBI agent (Noel Trevarthan), a Shanghai detective (Tony Ferrer) and a sultry nightclub singer (Maria Rohm, Towers' wife). Towers seems to have spent most of the budget on Lee (who's absent for long stretches) and some location shooting in Hong Kong, but other than some occasional attractive exteriors, Towers and director Jeremy Summers don't really take advantage of it visually. [Good Efficient Butchery]"
"[The Vengeance of Fu Manchu] isn't really a bad Fu Manchu movie; the plot is straightforward and easy to follow, and the basic story is interesting (even if certain plot elements don't stand up to close scrutiny). Yet, it made me realize just how much the whole sixties Fu Manchu series disappointed me. […] At their best, the movies seem competent but uninspired, as if everyone was working for the paycheck but little else. I think there was some potential for this series that never got realized. [Fantastic Movie Musings and Ramblings]"


The House of 1,000 Dolls
(1967, dir. Jeremy Summers)
 

"There is a good reason this movie gets very rarely shown anywhere."
 
The third of four movies that Jeremy Summers was to direct for Harry Alan Towers, and the third he made in 1967. He split the chores with German co-director Hans Billian (15 April 1918 – 18 Dec 2007), oddly enough credited as "Manfred Koeler", a director usually associated with sex comedies. The movie is available in multiple cuts, the German version even including "alternate material". A German-Britain co-production, House of 1000 Dollswas shot in Spain.

Trailer to
The House of 1,000 Dolls:
Dan Pavlides at All Moviehas the plot: "Felix Manderville (Vincent Price [27 May 1911 – 25 Oct 1993] of The Last Man on Earth[1964], The Masque of Red Death[1964], and Witchfinder General[1968]) is a traveling magician who manages to make young women disappear in this exploitation thriller. The trouble is, Felix drugs the femmes and sells them to white slave traders with the help of his mind-reading assistant Rebecca (Martha Hyer [10 Aug 1924 – 31 May 2014] of The First Men in the Moon [1964 / trailer] and Picture Mommy Dead [1966 / full film]). Marie Armstrong (Anne Smyrner [3 Nov 1934 – 29 Aug 2016], seen below but not from this movie) and her husband Stephen (George Nader) are American tourists who fall into the trap of the felonious flesh pedlars. Price plays the part with his usual suave and sinister manner in this routine production."
The two fall into the trap, actually, because they run into an old friend, Fernando (Sancha Gracia [27 Sept 36 – 8 Aug 2012] of one of the most violent spaghetti westerns ever made, Django, Kill! [1967 / trailer below]), whose fiancée, Diane (Maria Rohm), has been kidnapped by the dastardly duo working for a mysterious figure known only as "The King of Hearts". Fernando gets killed relatively quickly, but Stephen proves to be a man's man…
German trailer to
Django, Kill!
"Well you don't go to a movie like this for stark realism, and I'm happy to say that House of 1,000 Dolls doesn't bother with any. There's a fairly rudimentary plot about George's wife getting enlisted in the brothel's Ladies Auxiliary, some mystery about who The King of Hearts will turn out to be, a few fights, chases, murders and a slave-girl revolt […] all handled passably, sometimes stylishly… but somehow never memorably. This is a film you will soon forget, but it's painless and sporadically fun to watch. [Mystery File]"
"This little oddity of a film is, aside from being a lesser-seen Vincent Price vehicle, a thoroughly entertaining (in that guilty sort of way), though really quite tame romp. Produced by Harry Alan Towers […], it is, according to Mark McGee, author of Faster and Furiouser: The Revised and Fattened Fable of American International Pictures, 'quite possibly the sleaziest movie AIP ever made'. I sincerely doubt that. […] Instead it unspools as a rather campy yarn complete with ropey dubbing and extras wearing a lot of tanned make-up. The brief moments of exploitation — scenes depicting the scantily-clad beauties mud-wrestling, cat-fighting or being whipped for trying to escape — provide much of the guilty entertainment; but it isn't as remotely sleazy as it sounds. […] The plot becomes quite bogged down with myriad characters and subplots and it takes a while to pull everything together. Meanwhile much camp amusement ensues. […] A couple of chase scenes are effectively handled and provide a little respite from the uneven pace, but even the scene in which a leggy Danish gymnast () makes a break for it, shimmying down the wall of the house only to have her already scant clothes ripped off by the guards in hot pursuit, is more akin to Benny Hill than a suspenseful thriller. […] While its tameness is a little disappointing, House is never dull, and even if it simply can't live up to its seedy, sex-fuelled and exploitative promise; it's still a distracting little thriller with enough twists and camp delight to hold your interest. [Behind the Couch]"

More to follow… eventually.

Short Film: Left to Right (USSR, 1989)

$
0
0

Directed by Ivan Maksimov. This month's Short Film is located smack dab in the middle of "WTF Land"— as in: "WTF does that mean?" 
Left to Right, aka Sleva Napravo (Russian: Слева направо) is a student film, the first animated film made by Russian animator Ivan Leonidovich Maximov (born 19 November 1958). The music is by the Polish electronic music artist Marek Bilinskiand, according to the imdb, four authors — Bakir Dzhusupbekov, K. Konirkulzhaev, Dzhamshed Mansurov and Maksimov — wrote the Bolero-like non-narrative of the "dreadful visions of a hungry puppy" [MUBI]. Over at Print Magthey have a rather terse interview in which he says the short is "a sketch of transformation and vanity". The vanity we do not see, the transformation, yes: the short is basically a plotless continuity of growth, metamorphosis and pooping that arguable belies Maksimov's own assertion that he doesn't take drugs.

"Many people have no channel to their unconscious, so their
fantasy and imagination can work nice only with the help of drugs. They cannot realize that someone can be constructed otherwise
."

In any event, we would say, like Wilf Shaw, that Left to Right is a "lovely little short, genuinely weird and [with] interesting visuals and very pleasingly rhythmic, though not much more to be said about it than that."
It is also not the weirdest short of the numerous short films Maksimov has made over the years, most of which can be viewed on his blog (click on his name above to get there). It is, however, the first of his films that we saw, and thus the one we choose to present. Enjoy!


Latidos de Pánico / Panic Beat (Spain, 1983)

$
0
0
(Spoilers.) Aka Nightmare House, Cries of Terror and Frantic Heartbeat.
Paul Naschy movies are a bit like Kraft Macaroni & Cheese. They've been around forever and (generally) have terrible ingredients — i.e., dull direction, bad acting and worse dubbing, hilarious storylines and etc. vs. "no artificial ingredients" and empty calories — and are in no way a culinary cum cinematic treat in accordance to traditional values, but if you're a fan no one will ever be able to convince you just how terrible they are. But then, much like eating crap is more fun than eating healthy, watching crap is usually more fun than watching quality.
John Landis & Joe Dante on Paul Naschy: 
And what's crappy about Panic Beats? The acting, for one. Perhaps some of those involved in this movie can act — we've seen a believable Naschy in other movies, for example — but the atrocious dubbing guarantees no one will ever know here. And then the direction: for the most part, it is of the Tom Slaughter school of static filming — see, for example, Slaughter's Sweeney Todd, the Demon Barber of Fleet Street(1935) — displaying the workmanship simplicity of point and shoot, a constant exercise of the kind of dull and inexpressive camerawork endemic of no-budget productions or visually uncreative directors. (We love the long, dull scene of Naschy, to the right, and his on-screen wife, to the left, shot from the waist up and with the Eifel Tower in the background — why cut and edit or give an expository scene life when you've got the Eifel Tower?)
Then, of course, there is the improbable narrative involving an innately extreme number implausibly successful murders in a short succession — Wifey! Loyal family maid! Bothersome mistress! Bothersome husband! — and a poorly timed re-marriage that ruffles no feathers, a bloody murder site that is easily cleaned, two unscrupulous henchmen who simply disappear when no longer convenient to the plot, and so much more. Including that classic of low-caliber movies we (meaning: us men) all love: attractive babes with respectfully trimmed bushes doing gratuitous female nudity! (Gals get Naschy discreetly naked in the bathtub or bed, something that all women outside of his movies probably don't really want to see.)
But then again, all those flaws — all that which is "crappy" in the movie — are also a major contributing factor to the appeal of Naschy's movie. Were Panic Beatsa tad more professional, a tad more efficiently made, it would play out like a second-rate TV movie with nudity and gore. And thus be indefinitely less enjoyable than it actually is. 
As is the case with so many Naschy movies, Panic Beats hearkens back to both a previous Naschy production, Horror Rises from the Tomb (1973 / trailer), as well some cinema classics of the past, in this case Gaslight (1940 / clipand 1944 / trailer) and Diabolique (1955 / trailer). But in regard to Horror Rises from the Tomb, although Panic Beatsutilizes both the character of the long dead, killer knight Alaric de Marnac and the basic location of a secluded countryside mansion, the film is not a direct sequel to the earlier movie. No, as is the case with the let's-scare-her-to-death plotline and the dead-man-rising-from-the-bathtub scene, Naschy merely reuses familiar aspects to cook up a new movie. In the case of Panic Beats, an almost schizoid one: up until the very last five minutes or so, it remains solidly grounded in the realm of the thriller (albeit with occasional scenes of cheap but exorbitant gore) only to suddenly pull the supernatural stops out of the hat before ending abruptly and bloodily. One could, basically, compare the last three minutes to a vodka or tequila chaser that follows a beer: it sure adds a nice kick. 
The title, Latidos de Pánico / Panic Beats, is an obvious reference to the heart of the doomed and uniquely beautiful Geneviève (Julia Saly, aka Julia "La Pocha" Salinero*), the loving if annoyingly clinging and slightly hysterical wife of the fawning Paul (Paul Naschy [6 Sept 1934 – 30 Nov 2009]), a man who cannot say a single sentence to his wife without an endearment. As she is weak of heart, her doctor suggests that Paul remove her to the countryside for her health, and so, after a long scene in which Paul tells the doc all sorts of stuff that one would normally not tell a doc but that does well to fill in the viewer about everything they might need to know about the husband & wife and their past, the Parisian couple make their way to his family manor.** What follows is a tale of greed, betrayal, evil, horniness, death and killer ghostly knights that has as many twists and turns as it does women with speaking parts. The result is a movie as incompetently told as it is enjoyable — and, yes, you will laugh when you aren't supposed to.

*July Saly, who aside from the 14 films she made directed by Naschy also appeared in two directed by Amando de Ossorio (6 April 1918 – 13 Jan 2001), Night of the Seagulls(1975 / trailer) & The Possessed(1975 / full movie), as well as two by León Klimovsky (16 Oct 1906 – 8 April 1996), The People Who Own the Dark(1976 / trailer) & Death of a Hoodlum (1975 / credits), stopped making movies by 1985 and has seemed to have disappeared completely. That's her below on the cover of a flamenco record. (Ole!) In Panic Beats, the only thing more notable than her extremely bad acting and extremely protracted death scene — she literally (and hilariously) groans and moans and grasps at her heart for forever — is her exquisite, non-traditional beauty... and her penchant for wearing furs.

**According to Ninja Dixonand others, Panic Beats was shot in General Franco's old villa. If true, the film reveals that Franco had an absolutely horrendous taste in interior design. Half the rooms look like those of a cheap whorehouse (or at least a cheap film set). But then, has good taste ever been expected of mass-murdering fascists?
Like during Panic Beat's opening scene, before we are even introduced to Paul and Geneviève, which is set in a time the long past with a modern-looking naked woman (Carole Kirkham*) running through a foggy and strobe-light-lit forest,** only to stumble, fall, and be beaten to death with a mace by the evil knight Alaric de Marnac. It seems that his cheating wife robbed the crazed knight of all mercy for women, and legend has it that he returns every 100 years to kill the wives of his descendants. A legend that Julie (Frances Ondiviela), the conniving niece of housemaid Mabile (Lola Gaos [2 Dec 1921 – 4 July 1993]) makes sure to tell Geneviève: from the moment Julie and Paul first cast lust-filled eyes upon each other, any viewer with a brain knows that Geneviève is in the way. But, wait! There's more to Paul than meets the eye: he not only has an unwanted wife, but an unwanted mistress, Mireille (Silvia Miró***), as well. With or without Viagra, the guy gets around it seems.

* Kirkham's auspicious film career of exactly four movies includesEligio Herrero's post-apocalypse set Animales racionales / Human Animals (1983 / trailer), in which she gets porked by a dog, and ended with Ismael González's intriguingly entitled I Love Hitler (1984 / full film).
 
** A type of lighting of scenes extremely popular in horror films of the 80s, a decade in which nights and graveyards were always fog-filled and lit by strobes (see: The Night Flier[1997]).
 
***A woman of intriguing facial features, she hands down has the best bod of the movie (below). Panic Beats appears to be her final film appearance.

Although Paul Naschy is the nominal lead of the film, he probably has less screen time than that of the women combined, despite his presence in two roles, possibly three: aside from playing Paul and Alaric de Marnac, the physical shape of the junky boyfriend, whom one never fully sees, looks an awful lot like that of Naschy. (He's also the director, actually:"Jacinto Molina [Álvarez]" is his birth name — a fact that probably already known to fans of the man.) But if one character truly gets the most attention, then it is Julie, a woman as rotten inside as she is youthful and beautiful. She commits the most unexpected and gore-laden killing in Panic Beats, and at one point also offers a nice homage to the Euro-gothics of yesteryear by wandering around the darkened house in a long and lacy white nightgown. 
As mentioned, Panic Beats is hardly the best film in the traditional sense of a good movie. But if you make it past the somewhat plodding bit after the opening scene of gratuitous nudity and blood, it proves to be a twisting and turning, trashy and entertaining hodgepodge of borrowed ideas and bad dubbing lightly splattered with nudity and guts. And as an added plus, everyone dies in the end!

For your added pleasure:

Go GIF Yourself!

$
0
0
Found @ the tumblr oddities. Taken from the 1966 Czechoslovakian movie Sedmikrásky, aka Daisies, directed by Věra Chytilová (2 February 1929 – 12 March 2014). Though made with state funding, Sedmikrásky was initially banned by the Czechoslovakian authorities after its release for "depicting the wanton".
Plot: "Two teenage girls, both named Marie, decide that since the world is spoiled they will be spoiled as well; accordingly they embark on a series of destructive pranks in which they consume and destroy the world about them.... [Fiona Kelleghan at the imdb.]"
An image from the film also decorates the right side of the banner to the now possibly defunct blogspot House of Self-Indulgence, which hasn't been updated since its progenitor Yum-Yum transitioned.
The bouncing babes ( and ) are drinking one of A Wasted Life's Beers of Choice, Pilsener Urquel....

R.I.P. Maria Rohm, Part II: 1968-70

$
0
0

13 August 1945 – 18 June 2018

Vienna-born Maria Rohm (nee Helga Grohmann), talented cult actress and wife of British independent film producer and screenwriter Harry Alan Towers (19 Oct 1920 – 31 July 2009), went the way of the wind in June at the age of 72 in Toronto, Canada, the home of Bruce McArthur. Rohm, who began her acting career as a child stage actress, seems to have begun her film career at the age of twenty playing a prostitute in a 1964 film. Soon after she married producer Towers, also in 1964, he began putting her in many of his projects, including nine different movies directed by Jess Franco (12 May 1930 – 2 April 2013). She retired from acting in 1976, at the young milfy age of 31, but like her husband remained active as a producer.

Go here for Part I: 1964–1967 



Eve
(1968, dir. Jeremy Summers)

Trivia: British director Jeremy Summers' father was the British director Walter Summers (2 Sept 1896 – April 1973), who long ago directed the early Edgar Wallace horror film starring Bela Lugosi, The Dark Eyes of London aka The Human Monster (1939 / trailer). Lugosi's character has a name familiar to many a Franco fan: Dr. Orlof[f].
This movie here is aka The Face of Eve, Eve in the Jungle, and Diana, Daughter of the Wilderness.... and, somewhere, as Hula Hula. But it is not to be mistaken with Eve, The Savage Venus aka King of Kong Island(1968 / nudity), which is also about a jungle gal named Eve. That that Eve (Esmeralda Baris), however, shows a lot more boobage. (Boobage good.)
This Eve is the last movie of the four that Jeremy Summers did for Harry Alan Towers, only this time he reportedly didn't finish the flick and quit mid-job. Depending on your source, either Robert Lynn (see Part I: 1964-67) took over or Jess Franco did.
Trailer to
Eve:
Maria Rohm gets neither poster credit nor does she play the title character: she plays Anne, "a singer who continues to trill even as a massive brawl is going on around her, apparently because Towers wanted to play her song in full".
And although "Eve", otherwise known as Celeste Yarnall, was lauded on some posters with an "Introducing Celeste Yarnall" credit, Ms. Yarnall had already been involved in movies since the early sixties. In fact: the same year that she made this movie, as "Ellen" she was also romanced by Elvis Presley (8 Jan 1935 – 16 Aug 1977) in the movie Live a Little, Love a Little (1968 / trailer), where he serenaded her with A Little Less Conversation.
Elvis's A Little Less Conversation,
as mixed by Junkie XL:
We took a quick look at Eve way back in 2012, in They Died in September 2012, Part VII: Herbert Lom, where we more or less wrote:
"[…] Herbert Lom is the bad guy to Christopher Lee's dying old man, while the delectable Celeste Yarnall (of The Velvet Vampire [1971 / trailer] and Beast of Blood [1971 / trailer]) is the title character.
"Super Strange Videoexplains the plot: 'While searching for Incan treasure, Mike (Robert Walker Jr.), an American pilot, crash lands in the upper Amazon region of Brazil. He is rescued from savages by a white girl called Eve (Yarnall), who is worshiped as a goddess by the natives. When news of Mike's adventure reaches a small river port, an unscrupulous American showman, John Burke (Fred Clark [19 Mar 1914 – 5 Dec 1968] of The Curse of the Mummy's Tomb [1964 / trailer]), sets out to find Eve and add her to his touring sideshow.'
Mountain Cat Fight:
"Fantastic Musings and Ramblings opinions: 'It's a dull affair, especially during the long middle section where the hero returns to civilization, and any interest it does generate is more due to the presence of several familiar faces (Lom, Lee, Clark) than anything that actually happens. At least it doesn't take itself too seriously, though it does resort to stereotypes (in the form of Jose Maria Caffarel's comic character) to do so. One fun thing to do in the movie is to keep track of how many characters die as a result of their own monumental stupidity; I count at least three.'
"Let's hear it for leather bikinis — and Yarnall's lovely, non-anorexic body!"
Mark David Welsh, who was less than enamored with the movie, points out that "The ending does suggest the possibility of sequels, but it's hardly a surprise that none emerged. This is formula filmmaking at its most uninspired; the lazy screenplay not even bothering to explain how the infant Eve managed to survive all those years in the jungle. Was she raised by apes? The native tribesmen? Aliens, maybe? Oh, well, nobody cares. She looks great in an animal-skin bikini and that's all we need to know!"


The Blood of Fu Manchu
(1968, writ. & dir. Jess Franco)

Aka Fu Manchu and the Kiss of Death, Kiss of Death, Kiss and Kill and Against All Odds. It is the fourth film in a series: preceded by The Vengeance of Fu Manchu (see Part I: 1964-67), it was followed by The Castle of Fu Manchu (1969), which we look at later. 
Trailer to
The Blood of Fu Manchu:
Written with the help of Harry Alan Towers, otherwise credited as "Peter Welbeck", The Blood of Fu Manchu is possibly the first of an eventual nine flicks in total that Franco (12 May 1930 – 2 April 2013) directed for Towers, almost all of which featured Maria Rohm in the cast.
Here, she plays "Ursula Wagner". Richard Greene (25 Aug 1918 – 1 June 1985), of The Black Castle (1952 / clip) took over the role of Nayland Smith. Shirley Eaton appears to say all of two lines of dialog as "Black Widow", but she maintains that she never was officially part of the movie and never got paid for appearing in it: Jesus Franco simply inserted footage shot for another of her/his films, The Girl from Rio (1968), which we look at later. Interestingly enough, at least one poster (below) was also previously used for another movie, namely the German language release of The Vengeance of Fu Manchu.
According to Cinema Retro, "Jess Franco admitted to being surprised at having been asked to direct the series' fourth and fifth entries. In many respects the eccentric Spaniard was worthy of Tower's consideration as he shared the producer's lifelong enchantment with the comic-strip sensibilities of such popular dime-store-caliber novelists as Sax Rohmer and Edgar Wallace. But while he manages to bring some sense of old world British Empire derring-do to the screen, his two Fu Manchu films — with their attendant misfires and lurid nude sequences — stand apart from the first three films in the series and remain resolutely Franco in construction."
Over at All Movie, Robert Firsching has a plot: "This horror-tinged adventure is full of jungle action, creative murders, and violent sexual sadism. […] The mysterious Asian madman Fu Manchu (Christopher Lee) [is] plotting world domination from his secret headquarters underneath the Amazon rainforest. Fu has discovered a rare poison which affects only men, and uses it as lipstick for ten beautiful women, who are to deliver a kiss of death to each of 10 public officials. Carl Jansen (Gotz George [23 July 1938 – 19 June 2016] of Hypnosis[1962]) and Sir Denis Nayland Smith (Greene), a pair of Scotland Yard detectives, track Fu Manchu to his underground hideout and — with the aid of Dr. Ronald Petrie (Howard Marion Crawford) — search for the antidote to the deadly poison. Lee's wooden performance is alleviated by an amusing turn by Ricardo Palacios (2 March 1940 – 11 Feb 2015) as a revolutionary, and a beautiful female cast. […] This [is an] entertaining, if extremely sexist, fourth entry in the Fu Manchu series. Nude torture scenes and snake attacks are featured in some of the numerous prints, running 91, 88, 82, and 61 minutes."
"Filled with bright colors, banditos, and bondage galore courtesy of chained women in cages, this film encountered numerous censorship hassles and raised more than a few eyebrows with its publicity stills of topless women being tortured, one of which adorned the film's first VHS release box in America despite the fact that anything remotely naughty had been trimmed out of the film itself. The nudity level is actually pretty discreet by today's standards, but for a series of adventure films geared at preteens, it was definitely strong stuff. The low budget and sometimes pokey pacing can be a challenge if you're expecting something like the earlier Fu Manchu titles, but as a slice of cinematic exotica (with a slinky score by regular Franco composer Daniel White, it's an amusing diversion and a key entry in Franco's post-'60s evolution. [Mondo Digital]"
"The plot of The Blood of Fu Manchu often resembles the one in The Brides of Fu Manchu, which similarly had Fu Manchu with a collection of women under his control, hypnotised and forced to act as his puppets. The plot about women with a deadly kiss or as carriers of a disease was also used in a number of spy films of the era, most notably the James Bond film On Her Majesty’s Secret Service (1969 / trailer). However, the story here is all over the place. Most of the film consists of Fu Manchu prepping the girls for their mission intercut with numerous scenes of the bandits raiding. It is a plot that never seems to be in the process of going anywhere or building to anything. Disappointingly, Fu Manchu's customary adversary of Nayland Smith is barely present as a nemesis throughout. He is put out of action early in the show and only appears in two scenes during the first hour. This is peculiarly a Fu Manchu film where Nayland Smith is almost a supporting character to Dr Petrie who gets the lion's share of the adversarial scenes […]. The film arrives at a perfunctory climax where the lost city is blown up. [Science Fiction, Horror and Fantasy Film Review]"
At Schmollywood Babylon, Fred Anderson thinks that "Götz George is decent in the part [of an agent], but his character kinda disappears from time to time and there're other characters taking over, including a fat bandit and the stunning Maria Rohm — and I could never figure out why. Everything is very confusing. It's also low on action and adventure, which is very dangerous for being an adventure movie. Fu Manchu sits in his fortress yelling orders to people watching him, then he walks around a bit and then he sits down a bit. That's what Lee does and it's not much fun. […] I'm a huge fan of Franco and I love when he goes secret agent/kitch adventure in the 60's […] but The Blood of Fu Manchu just doesn't work. Damn pity."


 The Girl from Rio
(1969, dir. Jess Franco)
Not to be mistaken with The Girl from Rio(1939 / full movie), from Lambert Hillyer (8 July 1889 – 5 July 1969), the uninteresting director who somehow managed to direct two minor classics of horror, Dracula's Daughter (1936 / trailer) and The Invisible Ray (1936 / trailer).
Aka The Seven Secrets of Sumuru, City Without Men, Sumuru Queen of Femina, Rio 70 and Future Women — and more. The Girl from Rio is the sequel to The Million Eyes of Sumuru (1967, see Part I: 1964-67), once again featuring Shirley Eaton as the man-hating version of Fu Manchu, Su Muru. Eaton retired from making movies after this one. "Peter Welbeck" wrote the script, supposedly with the un-credited assistance of Bruno Leder (co-scripter of The Moment to Kill [1968 / trailer]) and Franz Eichhorn (1904–1982). Maria Rohm's "Helga" of the first film being rather dead, Rohm now plays someone else… 
Trailer to
The Girl from Rio:
"Speaking of which, […] brunette Maria Rohm [makes] her leggy presence felt […] while giving Jeff Sutton (Richard Wyler [20 June 1923 – 5 March 2010], of The Strange Door[1951 / clip]) a manicure in his hotel room. Sitting with her legs crossed, Maria, who plays a woman named Leslye, notices that Jeff has put his hand on her knee. If I tried a move like that, I would be shunned by society; shunned, I tell you. But since this Jeff pratt exudes charm and douche-adjacent elegance, he's got himself a date with a leggy Maria Rohm. It's not fair. [House of Self Indulgence]"
Over at the imdb, some guy named Claudio Carvalho, who lives in Rio, supplies a plot: "Jeff Sutton (Wyler) arrives in Rio de Janeiro with a suitcase with 10 million dollars, and the powerful mobster Sir Masius (George Sanders [3 July 1906 – 25 April 1972] of Good Times[1967] and The Body Stealers[1969]) sends his henchman Carl (Herbert Fleischmann[13 March 1925 – 5 April 1984]) with his gangsters to follow Jeff and get the money. Jeff has one affair with the manicurist Leslie (Rohm) and succeeds to escape from Sir Masius' mobsters. Meanwhile, Su Muru (Eaton, of And Then There Were None[1965]), the leader of the women of the City of Femina that wants to defeat the men and take over the world, captures Jeff and brings him to Femina expecting to get the money. Su Muru has several prisoners locked in glass cages, including Ulla Rossini (Marta Reves), who knows Jeff Sutton. Jeff discloses to Ulla that his arrival is part of a plan to save her from Su Muru. Jeff Sutton becomes a pawn in the middle of the war between Masius and Su Muru."
"Woman as fetish dominatrix, man as submissive victim destined to be ruled by the female sex. The Girl from Rio is Franco having fun with comic book and James Bondian conventions, as much fun as the film's George Sanders character has when he relishes his Popeye comic while a woman is being tortured. The Girl from Rio is also Franco having fun with as much soft-porn as he can get away with, slyly filming nude scenes when star Shirley Eaton was not on the set, steering his camera toward women's anatomies, pausing his camera at peek-a-boo attire, and positioning his actresses (excepting star Eaton!) so that breasts are revealed and bottoms placed in the forefront — everything guided by his own libido and obsessions. […] Whatever its obvious shortcomings, The Girl from Rio is at least hip and, in many places, fun, unlike the artificial and very square but far, far bigger-budgeted American super spy film In Like Flint (1967 / trailer), which shares a plot line with the Franco film of the female of the species wishing to take over the world. A more interesting and personal film from Franco than the two Fu Manchus he directed for Towers, The Girl from Rio spreads a bit of sunshine into the gloom of a rainy or melancholic day if it finds you in a receptive mood. [The Casebook of Jess Franco]"
Ninja Dixongushes, "Wow, this was one fun Jess Franco-movie! […] The Girl from Rio manages to make a lot of entertainment with probably very little money. We have the good old Franco working, with lots of pointless zooms and out-of-focus shots. But it's not that much, because most of the movie is a gorgeous and fantastic-looking spy/thriller/kitsch/action story with Franco showing his best. That man knows how to point a camera, and he likes stylish wide shots — as usual — and lots of half-naked women. There're a few fights and chase scenes and all of them are competent and echoes of James Bond and all the other colorful action movies from that time. But they obviously didn't have money to use blanks, so every time someone shoots it's off screen, just with sound effects. The final is extra cheap, and if they didn't say that the places was blowing to pieces, I would just think it was some extra abstract editing and Franco being a little more creative than usual! But still, it looks damn good and the Rio-locations are beautiful."
Yep: "Welcome to Femina: The City of Women. A magical place where naked midriffs rule the roost. Where pantyhose-adorned undercarriages grow on trees. The city voted the red cape capital of Brazil for the third year running by Red Cape Magazine. And the best place to find affordable cunnilingus for all you lesbians on a budget. I don't care if men aren't welcome (a misandric speech given by Sumuru during our initial tour makes that all too clear), I want to live in Femina: The City of Women. [House of Self Indulgence]"


99 Women
(1969 writ & dir. Jess Franco)
 

"From now on you have no name, only a number. You have no future, only the past. No hope, only regrets. You have no friends, only me."
Thelma Diaz(Mercedes McCambridge)


According to various sites online, including Cinesploitation, "In 1968 Franco and his legendary producer Harry Alan Towers (aka 'Peter Warbeck') were in Brazil shooting The Girl From Rio when they found that they had some extra time on their hands. So instead of letting the crew just hang out getting paid in Rio de Janeiro, they decided to write a whole new movie over the weekend and began shooting the following Monday. By the end of the week, they had shot a third of the entire script."
Scripting assistance was supplied by "Peter Welbeck", Milo G. Cuccia and Carlo Fadda. Maria Rohm plays Marie, subsequently called [prisoner] #98.We took a quick look at 99 Women way back in 2012, in They Died in September 2012, Part VII: Herbert Lom, where we more or less wrote: 
"Herbert Lom takes part in his first Jess Franco film — and in nothing less than Franco's first women-in-prison flick! As Governor Santos, Lom shares the screen with Maria Schell, Mercedes McCambridge and Rosalba Neri (of Lady Frankenstein [1971]); the French release includes inserted hardcore footage, none of which naturally involves the real cast. 
Trailer to
99 Women:
"DVD Drive-inexplains the film: 'In cult director Jess Franco's [...] epic, three sentenced females arrive by boat to the island where they will imprisoned — 'The Castle of Death.' The main girl is a pretty blond named Marie (Maria Rohm), but since these prisoners are only called by their numbers, she becomes branded "98". Marie makes the mistake of informing the butchy warden (Oscar-winner Mercedes McCambridge [16 March 1916 – 2 March 2004]) of an ill patient in the next cell. After the expected punishment, she finds herself at the wandering hands of a feisty lesbian (Rosalba Neri [below, not from the movie]), as well as the shady Governor (Herbert Lom) who apparently reaps the benefits of having sex with the prettier inmates that the warden delivers to him. Later, a sympathetic investigator (Maria Schell [15 Jan 1926 – 26 April 2005]) arrives on the scene to witness firsthand how badly these girls have been abused and mistreated, but it may be too late…"
The inserts for the French hardcore version, which is entitled Les Brûlantes (while it lasts, see: uncut sausage on YouTube) and was released in French porn theaters five years after the original film's theatrical run, were supposedly shot by the great Italian hack Bruno Mattei (30 July 1931 – 21 May 2007) — see: Island of the Living Dead(2007). Who supplied the hairy muffs and hairy balls for the close-ups is unknown. Like many Franco films, there are as many cuts of the movie as there are titles.
In any event, the 2,500 Movie Challenge, which is of the opinion that 99 Women"ranks alongside Count Dracula(1970) and Venus in Furs (1969) as one the director's better outings", says: "99 Women is always engaging, thanks in large part to its impressive cast. McCambridge is over-the-top yet damned entertaining as the fanatical Diaz, while Maria Schell is more subdued but equally as effective as the sympathetic observer trying to make a difference (the animosity that develops between their characters adds another layer of drama to what is already a tension-heavy motion picture). As the lone male in the main cast, Herbert Lom is sleazy as hell as the Governor who occasionally has his way with the women prisoners; one scene in particular, where he leers at Marie and #76 (Rosalba Neri) as they get it on with each other, is downright creepy. As for the inmates, they're also well-portrayed, especially Maria Rohn as Marie, who wins our sympathy the moment we meet her."
Prison Moviesobviously disagrees: "[...] This is a boring, limp-scripted, horribly acted, and uninspired effort. Ninety-nine Women in very short tunics and from a selection of different European countries are imprisoned on a half of a remote island in a big castle. The Oscar-winning (!) Mercedes McCambridge plays the confused-accented Superintendent Diaz, who reigns by terror (one is led to believe, because you see very little of it) and also procures prisoners for the male Governor who runs the men's prison on the other side of the island. Fortunately we don't see much of this, but the relationship between the two reminded me oddly of Nurse Diesel and Dr Montague in High Anxiety(1977 / trailer)."


Marquis de Sade: Justine
(1969, dir Jess Franco)
Based on some novel entitled Justine, or The Misfortunes of Virtue, written by some guy named Donatien Alphonse François de Sade (2 June 1740 – 2 Dec 1814), aka Marquis de Sade. Adapted for the screen by "Peter Welbeck"; "heavily censored, various prints run 120, 105, 93, and 90 minutes."

French trailer:
Way back in March of this year, in R.I.P. Umberto Lenzi, Part IV: 1976-82, while taking a look at Lenzi's 1982 film Incontro nell'ultimo paradise, we quoted a surprisingly snarky and since-deleted Wikipedia entry on that movie's star, Sabrina Siani, that said Jess Franco hailed Siani as "the 2nd worst actress he ever worked with (next to Romina Power […])."
We mention that because Romina Power, the daughter of Tyrone Power (5 May 1914 – 15 Nov 1958, of Nightmare Alley [1947 / Trailer from Hell]) and Linda Christian (13 Nov 1923 – 22 July 2011, of The Devil's Hand [1961 / trailer]), plays the title role of this movie. According to the movie's trivia section at the imdb, "In an interview on the Anchor Bay DVD release, Jesús Franco says he originally wanted Rosemary Dexter (19 July 1944 – 8 Sept 2010) as Justine, but the American partners in the film insisted upon Romina Power. Franco compared her performance to a window dummy."
That said, Romina Power, though acting in Italian films since 1965, was hardly a name in the US or elsewhere. Living in Italy since the early 60s, by 1970 she was the female half of a popular European singing duo Al Bano and Romina Power. Romina moved to Sedona, Arizona, in 2007, a location popular to New Agers and full of strip malls that one has to drive through to get to Jerome, Arizona. Her daughter, Ylenia Carrisi, "[…] (born November 1970) was visiting New Orleans when she went missing in the French Quarter. She had been staying at the Le Dale Hotel with a street musician when she was last seen on 6 January 1994. The man was arrested in connection with her disappearance by the New Orleans police detectives, but later released due to lack of evidence. She has yet to be found."
Al Bano and Romina Power's
biggest hit, Felicità:
But to the movie! SexGoreMutantsraves "The film opens with everyone's favorite Euro cult stalwart Klaus Kinski pacing around in a cell tormented by the visions of some naked, blood-spattered females manacled in the adjoining room. He opens a book and starts to transcribe Justine's story — and so the fun begins. Young innocent Justine (Romina Power) and her more worldly sister Juliette (Maria Rohm) are ejected from their cosseted French orphanage to fend for themselves after their father flees the country. Left with a small amount of money, Juliette suggests they go stay with her friends; Justine discovers that these so-called friends are actually the inhabitants of the local brothel. Being the pure young lass she is, Justine decides this is not for her and decides to do her own thing. Sadly the young girl is swiftly conned out of the little money she has by a corrupt monk and ends up working as a house slave for a local hotelier. Things go from bad to worse when one of the lecherous residents upset by her disinterest to his sexual advances frames her for the theft of his gold brooch. Poor Justine is thrown into jail [and] sentenced to death, but just when you think things couldn't get any more dreadful for the poor girl (well surely you can't get any worse than the death sentence surely?) life does indeed go from ghastly to downright disgraceful! Beaten, branded, tortured and enslaved by a sadistic band of monks (led by Jack Palance in what is without doubt his finest ever role) it looks as though the pitiful Justine will soon be wishing she had never been born. What will become of Justine? How does she mange to keep going through the endless brutality? Will it ever end? Well, fans of exploitation cinema will be salivating in delight at the onscreen perversions hoping that it won't!"
TV Guide, on the other hand, carps that "One of the Marquis de Sade's most notorious works is stripped to its basic elements here as Jack Palance involves a number of nude women in his macabre forays into black magic and sadism. Klaus Kinski turns in a fairly good performance as the marquis, but the film is mostly exploitive garbage. It's a shame that filmmakers have been reluctant to consider the marquis' philosophical concerns; De Sade's revolutionary ideas would almost certainly be more interesting (and less lurid) than his outrageous sexual descriptions." (Yes, and the average reader of TV Guide would probably also find such philosophical concerns extremely intellectually stimulating.)
10K Bullets, which laments that Maria Rohm's Juliette "is underused" and that "she delivers a pitch perfect portrayal of Juliette", mentions: "From a production stand point, Marquis de Sade's Justinewould give Franco the largest canvas that he ever got to work with as a filmmaker, with the film's reported budget being one million pounds. Needless to say, he would take full advantage of this rare opportunity as this film is a period drama set in 18th century. When it comes to costumes and set designs, this film does a superb job maintaining the intended look of this era. Another area where this film far exceeds its expectations are the actually Barcelona locations featured in the film, and some of them are considered landmark locations."
 
As for the acting, Celluloid Terrorpretty much echoes the general opinion of most online commentaries when they say: "Unfortunately, the star Romina Power is either totally disconnected from the material or blissfully (for her own sake) unaware that she's making a movie. She has a perfect look for the character of Justine, as she has a naturally innocent look, but she's as wooden as wooden can get and doesn't emote any of the tasteless brutality that she endures again and again. […] Jack Palance and Mercedes McCambridge play supporting roles who both kill it with their respective performances. As the story goes Palance was drunk on red wine by 7am each morning and that very well may have lead to his totally bizarre and off-the-fucking-wall performance, while McCambridge owns the screen during her scenes as a powerful leader of a band of thieves and swindlers."
"Justine isn't THAT tame by the way. It has some blood and a good amount of nudity, mostly boobs and an ass here and there, but imagine if Power didn't get the part and the cool Rosemary Dexter (who plays a smaller part, but first got cast as Justine) did it instead? I think we would have seen a very different movie, an even better and more brilliant production. Now it's 'just' great. [Ninja Dixon]"

Venus in Furs
(1969, writ & dir. Jess Franco)
Well, if you do a movie based on a famous S&M novel (Marquis de Sade: Justine), why not follow it up with a movie inspired by a classic B&D novel? But it's false advertising: as Wikipedia points out, "The film (also known as Paroxismus and Black Angel) bears only a superficial resemblance to the 1870 Venus in Furs novel by Leopold von Sacher-Masoch (27 Jan 1836 – 9 March 1895). The title and character names in Franco's original script were changed to the novel's for commercial reasons. Franco's film is a surreal supernatural erotic thriller about unattainable love and how far one is willing to go for the person they desire. It is not a study in masochism as portrayed in the novel."
Trailer to 
Jess Franco's Venus in Furs:
It also isn't the only Venus in Furs of 1969: the adaptation by Massimo Dallamano (17 April 1917 – 4 Nov 1976), aka Devil in the Flesh, hit the screen the same year (trailer).
Mondo Esotericahas the what and the why: "Although often hailed as Franco's masterwork, the end film Venus in Furs is a long way from Franco's original concept of Black Angel, which was to be a surreal love affair between a black jazz musician and a white fantasy woman whom he conjoured up during solo playing. However, the American distributors refused to fund a film with a black man/white woman romance and Franco was forced to rethink the whole story — even the title was a commercial insistence of the American International producers who wanted to capitalize on the success of the Leopold Sacher-Masoch book, even though the film itself was little related. As it stands, the storyline of Venus in Furs is very interesting and unpredictable with the curious recurrent themes of a jazz piece and the languorous pacing and jumps of a dream. […] The ending is very strong, although it would probably be more powerful without the final line of dialogue."
Set within the music scene, it also stars two real musicians cum actors: James Darren as "Jimmy Logan" and Barbara McNair (4 Mar 1934 – 4 Feb 2007) as "Rita". (The photo of her below comes from the blogspot Celebrity Nude.)
 
Non-musician Maria Rohm plays the titular Venus in Furs, Wanda Reed. Trivia: On 15 December 1976, McNair's second husband (of four), Rick Manzie, was murdered in their Las Vegas mansion.
Barbara McNair's biggest hit,
Here I Am Baby:
The plot, as given by Claudio Carvalho (of Rio de Janeiro, Brazil) at the imdb: "In Istanbul, the trumpet player Jimmy Logan (Darren) is dazed and confused on the beach and finds his musical instrument buried in the sand. Then he sees a woman in the sea and he pulls her body from the surf. He recognizes her as Wanda Reed (Rohm), a gorgeous woman that he saw in the party of the playboy Ahmed Kortobawi (Klaus Kinski [18 Oct 1926 – 23 Nov 1991]). Then he saw her being whipped and raped by Ahmed and his friends Percival Kapp (Dennis Price [23 June 1915 – 6 Oct 1973]) and Olga (Margaret Lee). Jimmy travels to Rio de Janeiro and spends the Carnival playing with a jazz band and his girlfriend Rita (McNair) in the nightclub of Herman. One night, Wanda Reed comes to the club and Jimmy becomes obsessed on her. Sooner he leaves Rita and stays with Wanda. Meanwhile, she kills Percival, Olga and Ahmed [while] dressed in furs. When the police seek out the woman, Jimmy discovers a secret about Wanda Reed and him."
The Worldwide Celluloid Massacre, which often wouldn't recognize a good movie if it bit them, rates the movie as "Worthless" and spleens: "An early Franco movie bordering on the confusing and strange, and often claimed to be a surreal masterpiece but is mostly just a badly executed ghost story. […] Features trippy editing and warped cinematography (Franco's subtle way to make things dreamy), Klaus Kinski as a kinky Turk (say that three times fast), the usual dull Franco exploitative nudity, and a final twist ending."
Girls, Guns and Ghouls, however, would beg to disagree: "Visually, Franco's images are complex and intriguing. Supernatural mental states are passed into, and out of. The images slow down, dissolve and overlap. The beach, site of death and the discardment of life, and the ever-present waves, come and go throughout our story. Costumes, sixties fashion, musical instruments and objects, plus the physical locations all delight. Franco obviously loves Istanbul, having used it in quite a few of his films, and knows how to shoot it at its best. Rio's carnival atmosphere comes and goes through the middle third of the film, and adds colour to an already colour-drenched piece. If you're looking for intense erotica or horror in a film, you probably won't find a huge amount to satisfy your needs in Venus in Furs. It's really more of an effective mood piece. That's not to say that a semi-naked Rohm in furs and stockings isn't compelling to look at, but a fetish for both would probably help. The kills are all done through some sort of death-bringing psychic energy emitted by Wanda, so there're zero levels of violence and gore. If you like Franco's psychedelic efforts, this would have be a prime example of them. The next time you get a bad run of Franco films and start to look negatively at his oeuvre, pop in Venus for a spin in your DVD player, and I think you'll come back to him."
Barbara McNair & Manfred Mann —
Venus in Furs:
Lastly, to return to Mondo Esoterica: "Like most of the Towers/Franco collaborations, Venus in Furs has a strong cast. American actor James Darren was unusual casting for the lead role, a popular American TV star he was little known in Europe, Franco agreed to cast him after discovering that Darren was a former jazz trumpeter which lends some real authenticity to the musical sequences. Barbara McNair was similarly well known in America as a singer, which allows her character to seem much more authentic (no need to dub the singing separately) while Maria Rohm as her supernatural love rival was Tower's top name actress and very popular, although probably intentionally she gets little range here, usually appearing mute. The tragic Dennis Price and legendary Klaus Kinski give good but almost mute performances as Wanda's torturers and victims, although with little screen-time. Look out for Franco regular Paul Muller as a bar owner, and jazz musician Manfred Mann as himself, even Franco himself puts in a turn on the piano in one scene."
Has nothing to do with this film —
trailer to Joe Marzano's Venus in Furs(1967):


Eugenie... The Story of Her Journey Into Perversion
(1969, dir Jess Franco)

Another Harry Alan Towers production scripted by "Peter Welbeck" featuring Maria Rohm. Aka The Virgin and the Whip, De Sade 70: Beaten and Loved,Philosophy in the Boudoir and other names. Tangentially based on the works of Marquis de Sade, it is also yet another movie starring Christopher Lee (27 May 1922 – 7 June 2015) that he later claimed he had no idea would feature so much nudity — considering that this is the case of almost all his Franco films, one wonders why Lee made so many with Franco. (Aside from the four he made around the same time — 1988-70 — he returned in 1988 for Dark Mission [full film in Spanish] and in 1989 for Fall of the Eagles [trailer].)

Franco did a total of five films "based" on DeSade's Philosophy in the Boudoir. He followed this version here, for example, a year later with the similarly entitled Eugénie (striptease), starring Soledad Miranda (9 July 1943 – 18 August 1970). After that, he followed with Plaisir a trois aka How to Seduce a Virgin (1974 / full NSFW movie, in French) and two further sex-film versions, both of which we took a quick glance at way back in 2012 in R.I.P. Lina Romay: 1978'sCocktail Special (full NSFW movie), and his final riff on the tale in 1980, Eugenie (Historia de una perversión) aka Wicked Memoirs of Eugenie.
As for Lee, supposedly the smoking jacket he wears is the same he wore as Sherlock Holmes in Sherlock Holmes und das Halsband desTodes(1962); he followed up this soft-core sex movie with another Franco/Towers/Rohm movie, The Bloody Judge (1969), but filming and release dates of the various productions might be irrelevant so who know what his last Franco movie truly was/is.
Despite Lee's top billing, the real star of Eugenie... The Story of Her Journey Into Perversion is, of course, the unforgettable Marie Liljedahl, who was probably 18 or 19 years old while filming (she was born 15 February 1950). Swedish, her short career actually began with a tiny part — "Girl on Beach"— in an obscure Greek film entitled O zestos minas Avgoustos,which Doris Wishman (1 June 1912 – 10 Aug 2002) bought and turned into a soft-core sex drama entitled The Hot Month of August (1966 / trailer). (Wishman is credited as director "Louis Silverman".) But when Joseph W. Sarno (15 March 1921 – April 26, 2010) cast Liljedahl, at 17, as Inga (1968 / trailer), she became a sex symbol. Liljedahl, named the Top Sex Star of 1971 by Playboy magazine, also "retired" by 1971 and supposedly later even claimed to regret that she ever made sex films. (Better to make sex films than vote Trump.)
Trailer to
Eugenie... The Story of Her Journey Into Perversion:
But now, to get to the movie. "Though not a neat break from his past oeuvre, historians of continental film are of the mind that Eugeniewas more-or-less a transitional movie for Franco, a pivotal catalyst for the director’s turn from more traditional movie-making forms to a more seamy and steamy catalog of cult-films. In the final analysis, Eugenie was a difficult film to market in 1970 as it had a cinematic foothold in two disparate worlds. U.S. distributor, Jerry Gross (26 Jan 1940 – 20 Nov 2002), didn't even want the final product as he found the film too artsy and tame and wanted to see more flesh on-screen. Franco would defend the finished film as 'erotic but not pornographic'. [Cinemaretro]"
The plot, as found at The Bloody Pit of Horror: "Madame Marianne Saint Ange (Maria Rohm) seduces Monsieur de Mistival (Paul Muller of Lady Frankenstein[1971] and so much more) and gets him to agree to let her take his impressionable, sheltered 15-year-old daughter Eugenie (Marie Liljedahl) away to her tropical island mansion (only accessible via boat) for the weekend. She promises no harm will become of his virginal little girl in the process. Upon arriving, Eugenie is showered with attention, fancy wardrobe, ocean-front dinners, wine and smoke by her libertine hostess, who also enjoys bathing and rubbing lotion on her guest in various states of undress. Eugenie is also introduced to Marianne's step-brother (and lover) Mirvel (Jack Taylor of Succubus[1968] and so much more), who immediately falls in love with the naive young beauty, a black handyman named Augustin (Anney Kablan) and reclusive, mute maid Therese (Uta Dahlberg). Seems harmless — and typical — late 60s/early 70s soft-focus soft-core fluff, right? Not so fast, sucker. […] There's sadism galore, druggings, rapings, beatings, nightmares, murders and a strange cult dressed in Victorian era garb and headed over by Christopher Leeas Dolmance. Said cult seems to want to get their hands on a human heart for some kind of ceremony. [….]"
Of Maria Rohm, at House of Self Indulgencepre-transition Yum-Yum writes, "Anyway, Maria Rohm plays Madame Saint Ange, a leggy aristocratic who enjoys sunbathing, toying with her guitar-playing gardener/boatman, Augustin, diaphanous clothing, sado-masochism, and corrupting minors."
At All Movie, Mark Deming demurs that "Die Jungfrau und die Peitsche is rather subdued by Franco's standards, though it has enough nudity, decadence, and pretty people doing awful things to satisfy the vast majority of his fans. Die Jungfrau und die Peitsche (released in the United States as Eugenie: The Story of Her Journey Into Perversion) features plenty of lovely scenery and pleasing sequences of the idle rich enjoying themselves to balance out the lurid and enthusiastic torture sequences, though most of them are mildly creepy rather than bloodcurdling. Christopher Lee's all too brief supporting performance as master sadist Dolmance hits all the right notes […], and Maria Rohm and Jack Taylor are a fine pair of creepy, if attractive, libertines. Marie Liljedahl, however, takes top honors as the defiled innocent Eugenie, who walks an appropriate line between schoolgirl charm and ripe sexuality — scoring impressively on both sides. Die Jungfrau und die Peitschemay be sleaze, but it's sleaze with style, delivering kinky softcore sex and amusingly pretentious philosophizing in amusingly equal measure."
For some intriguing musings about the film, we recommend the review at Not Coming to a Theater Near You. 


The Bloody Judge
(1969, dir. Jess Franco)

Aka: Night of the Blood Monster and, according to various sources, Throne of the Blood Monster, Trial of the Witches and Witch Killer of Broadmoor. Original title, Il trono di fuoco— but not to be mistaken with 1983's Il trono di fuoco (trailer). The version that is Night of the Blood Monster is severely cut, so don't expect the normal amount of Franco blood, breasts, bondage and beatings.

Trailer to
Night of the Blood Monster:
Another Jess Franco film with Maria Rohm — and Christopher Lee (27 May 1922 – 7 June 2015), Maria Schell (15 Jan 1926 – 26 April 2005) and Margaret Lee, among others. The story by Towers, script by Franco, Michael Haller (co-scripter of Sonne, Sylt und kesse Krabbenaka Ready, Willing and Able [1971 / song]), Anthony Scott Veitch ([6 Jan 1914 – 23 Feb 1983] who cowrote Coast of Skeletons[1965]), and Enrico Colombo. Colombo scripted some fun trash in his day, for example: Il castello dalle porte di fuocoakaIvanna(1970 / German trailer),La orgía de los muertos aka Beyond the Living Dead (1973 / Spanish trailer) and the unjustly unknown Réquiem para el gringo aka Duel in the Eclipse(1968 / trailer).
One might be tempted to write this off as a remake or alternative version of Witchfinder General(1968), but that film is based on the life and times of Matthew Hopkins(c. 1620 – 12 Aug 1647), while Franco's Bloody Judge is based on the life and times of George Jeffreys, 1st Baron Jeffreys of Wem, otherwise known as The Hanging Judge (15 May 1645 – 18 April 1689). But surely, Franco's film — like Michael Armstrong's Mark of the Devil I (1970 / trailer) and Adrian Hoven's Mark of the Devil II (1973 / trailer) — would not have come to be were it not for the success of Witchfinder General.
The plot, as found at Beasts in Human Skin: "During the reign of King James II, Lord Chancellor Jeffries (Christopher Lee) has a wicked reputation as defender of the Crown and Church. Without remorse, he sends anyone to be tortured and executed if they are accused of treason or witchcraft. Alicia Grey (Margaret Lee) is brought before Jeffries on charges of witchcraft. He finds her guilty and has her burned alive. It later comes to his attention that the son (Hans Hass Jr. [3 Sept 1946 – 28 June 2009 — suicide by hanging]) of Lord Wessex (Leo Genn [9 Aug 1905 – 26 an 1978], of And Then There Were None[1965]) is having an affair with this dead 'witch's' sister Mary (Maria Rohm), who is not only associated with witches but also of conspirators against the king. Lord Wessex's son Harry is warned to leave this wench alone but he is in love and refuses. He and Mary fight for the army of William of Orange but are captured and along with 500 of their fellow rebels are sentenced to death by Jeffries. Will they escape? Will the rebels overthrow King James and his sadistic but loyal henchman, Lord Jeffries? […]"
Hans Hass Jr. sings in German —
American Pie (1972):
"Franco's admittedly admirable attempts to craft a serious period piece/historical drama include several well-staged battle sequences, dark political shenanigans ever-afoot and snatches of the driest humour. The Bloody Judgealso boosts a budget more sizable than most Franco films, and there's plenty of grim detail to the filthy authenticity of the period, which is handsomely evoked. Also worth mentioning is the beautiful cinematography by Franco regular Manuel Merino, and the emotive score courtesy of Behind the Couchfavourite, Bruno Nicolai. Despite these positive aspects, events are too often bogged down in dusty scenes of badly dubbed dialogue that go on a little too long; and regardless of some surprisingly effective performances, none of the characters ever really garner any sympathy. Maria Rohm […] is rather good as Mary Gray; the damsel in distress who seems prepared to do whatever it takes to protect her lover. Sir Christopher Lee, as usual, delivers the kind of stately performance he is now renowned for as the merciless judge. [Behind the Couch]"
20-20 Movie Reviews, on the other hand, says, "Anyone who has seen a Franco movie will pretty much know what to expect in terms of plot and quality. The story is played fairly straight to begin with, but it's as if even Franco grows bored of the tedious pace with which the muddled plot unfolds and decides to spice things up with gratuitous female nudity. [That's Maria Rohm getting nekkid below.] Most of this involves an unsavoury focus on violence towards women, including beatings and rape. […] Despite the attempts at respectability and relatively high production values for a Franco production, no attempt is made to add any depth to the characters. Jeffries is simply a sadistic monster with no human emotions whatsoever, and no back-story to speak of."
As Robert Firsching points out at All Movie, "This erotic horror film from cult director Jesus Franco […] revels in displays of whipping, sex, and chained women, but is difficult to evaluate otherwise due to the numerous different versions available, some with alternate endings. One version has Jeffreys hanged, then taken down and beheaded, while another has him watching a hanging from a window while a narrator reads his death sentence. There is also a third ending in which Jeffreys makes a confession to Harry's father, the Earl of Wessex, before suffering a fatal heart attack."

Bruno Nicolai — Music to
The Bloody Judge:
Jess Franco, ever a believer in (depending on your viewpoint) flogging a dead horse or reinvention of ideas, returned to the character of Jeffreys a few years later in Les Demons (1973 / trailer), with Cihangir "John Foster" Gaffari (also of Hundra [1983 / trailer] and El monte de las brujas aka The Witches Mountain [1975 / trailer]) playing the judge. Franco's Les Demons, by the way, was also an exploitation take of Ken Russell's The Devils (1971 / trailer).
When released in the US with its misleading name, poster and general presentation, Night of the Blood Monster was part of a double bill with one of Hammer's more troubled and more succesful productions, Blood from the Mummy's Tomb (1971 / trailer).

More to follow… eventually.

The Babysitter (USA, 2017)

$
0
0
(Spoilers.) Ah, the babysitter. Tragically misrepresented in the movies. Beginning with their looks. In all three babysitter movies we know of — The Babysitter (1969 / trailer), The Babysitter (1995 / trailer) and The Babysitter (2017) — the titular babysitters are all rather hot, if only by the tastes of their respective era. Dunno, but let's get real: in real life, does anyone out there really remember ever having had a knockout babysitter? Hell, no. If any flick named The Babysitter really wants to achieve an ounce of believability or mildly reflect reality — if one can even speak of such when talking about a movie featuring devil-worshiping "teenagers" with an incredible talent for cleaning house — the titular character would have to be, if not butt-ugly, then at least a plain Jane. But then, who would watch the movie?
Luckily, The Babysitter is not a realistic film: it is a blood-drenched black comedy featuring a wet-dream-worthy babysitter named Bee (Samara Weaving of Mayhem [2017 / trailer] and Bad Girl [2016 / trailer]) who pops the cherry of her 12-year-old ward of the night, Cole (Judah Lewis)...
OK, so Bee doesn't pop Cole's cherry, but he probably was wishing she would before the shit hit the fan. Pretty much like every man who watches this movie wishes he were also playing spin the bottle with her and her friends — at least, that is, until she puts two knives into the skull of the "winning" hapless loser Samuel (Doug Haley, found in Hansel & Gretel Get Baked [2013 / trailer]), whom she kisses soon after her male-fantasy lesbian kiss with the cheerleader, Allison (Bella Thorne of Big Sky [2014 / trailer]).
Director McG, who rose from music videos to Charlie's Angels (2000 / trailer) & Charlie's Angels: Full Throttle(2003 / trailer) only to nosedive from Terminator: Salvation (2009 / trailer) to lame-ass TV movies (and beaucoup bucks as a producer), brings his hipster style to this uneven tale that is more fun than it deserves to be and hardly as fun as it could have been. The script takes the basic idea of a pubescent kid's wet dream fantasy (the knockout babysitter) and turns it on its head by reversing the basic structure of the classic body-count movie.
Normally, at least until Wes Craven's Scream (1996 / trailer) and its sequels, a body-counter has one psychopath leaving a trail of dead people behind as one after the other the various victims wander off alone; in The Babysitter, the intended fodder actually manages to do away with various psychopaths, one after the other, as they wander around alone looking to do him in.
Interestingly enough, and probably intentionally, the devil-worshiping psychos are almost all body-count film stereotypes and, aside from the hot blonde Bee, include the alibi Afro-American quipster (Andrew Bachelor of Meet the Blacks [2016 / trailer]), a generically handsome jock (Robbie Amell of Devil's Night [2007 / trailer] and Arq [2016 / trailer]), a cheerleader, and — somewhat less common to the genre — an Asian American (Hana Mae Lee). Indeed, in regards to the last listed, prior to this flick here the only western-world body-counter we remember seeing with an Asian character was Paul Hunt's obscure and hilariously abysmal slasher Twisted Nightmare (1987 / film), which featured a hotly muscular Darryl Tong, "a real-life fitness trainer [with 80s bad hair] whose facility with a crossbow was worked into the script" [Mondo Digital], as fodder.
The Babysitter is a fun film made by guys and for guys. Not that it is full of naked flesh or particularly misogynistic (no helpless women victims here, you could argue, despite some dead women), but the viewpoint — the visual focus, the titillated eye — is definitely based upon the male fantasy of not just the babysitter straight men all wish they had had, but the perfect girl that all male cis genders wish they could have. Only, the fantasy suddenly goes way off the deep end midway, and Ms. Perfection reveals herself to be total misperfection. (OK, the word doesn't exist — sue us.)
The movie does do some visual lip service to the possible [straight] female audience by having one of the males of its murderous quintet, the jock, go shirtless most of the time, thus giving the audience the extended pleasure of his ideal physique, but face it: shirtless guys don't do as much for girls as shirtless girls do for guys. Indeed, shirtless guys probably don't do as much for girls as even a girl in a hot bikini does for guys, and while guys get no nude female in The Babysitter, they do get Bee in a drool-inducing bikini. Indeed, there is probably no scene that better reveals the movie's male gaze, and the hormonal overdrive of pubescent males, as the pool swim scene in which the viewer experiences Cole's view of Bee stripping down to her red bikini in slow motion. Of the seven people watching the movie at our screening, the scene got embarrassed laughs of identification from those males who remembered puberty's insecure desires for the unfamiliar, loud catcalls from the guys lacking long-term memory, and simultaneous dismissively dry "Uh-huhs" from the two females. (Did we mention that The Babysitter talks more to guys than women?)
Still, it's odd that a movie like this supposedly sat two years on the shelf before finally being picked up by Netfux. It might not be as successfully hip as, say, other recent exercises in neo-postmodern self-aware genre moviemaking like Edgar Wright's name-actor heavy Baby Driver (2017 / trailer), but it is an entertaining and quirky and well-made spin on the familiar that, while slow to start, is never boring. Crisply filmed, tightly edited, and (unbelievably enough, considering the no-name cast) well acted, The Babysitter drips as much gore as it does pop culture references — many of which one might doubt that even a nerdy 12-year-old like Cole would know. (Seriously: Billy Jack [1971 / trailer]?) But Cole, as much of a wimpy loser as he is, is actually a likeable guy, and thus easy to root for — all the more so when he finally takes the bull by the horns to save his peach-fuzz balls.
Aside from Bee and Cole and the wanna-be killers, The Babysitter is also populated by a small plethora of throw-away characters — parents and bullies — who manage to instigate laughs on their own, some of the meanest (non death- or gore-related) laughs being at the expense of the parental figures. (Really, if the scene of Cole's parents at the hotel is a reflection of them working at their relationship, they should get a divorce.)
Like most of the rare dead-teenage movies in which parents are seen, such figures of familial authority are in the picture but briefly and disappear by the time the blood begins to flow. Too much so, one can't help but notice: the events may occur in a dreamy ideal of pristine suburban perfection, but even in Pleasantville neighbors would probably show up to rubberneck when cop cars, sirens screaming, pull up at a house on the street. Likewise, neither gunshots nor explosions seem to awaken anybody on the block, nor, for that matter, does anyone even throw a shoe when Cole runs across lawns and streets shouting (something to the effect of) "Come & get me! Here I am!" The closing credits jump scare is also pretty stupid: one might argue that such a scene is mandatory for teen horror movies, but be what it may, such scenes are also so generic and expected that they no longer work — at least, not for anything other than being an easy way out for a possible, if doubtful, sequel.
The Babysitter will never be seen as a classic, but it is good bloody and silly fun. Especially for guys. And while it'll probably never get the sequel the final scene would allow, give it ten to fifteen years and, like Cabin Fever (2002 / trailerand 2016 / trailer), it'll surely be subject to an unnecessary remake. But why wait? Watch the original now. On Netfux.

Short Film: Mickey Mouse in Vietnam (USA, 1968)

$
0
0
Here's a short and silent little underground animated treasure from the days of yesteryear. As with our Sept 2013 Short Film of the MonthBambi Meets Godzilla(1969) and our Oct 2016 Short Film of the MonthBring Me the Head of Charlie Brown(1986), copyright laws were broken; and as with those films, no legal repercussions occurred. If Disney even noticed the film when it came out, why give it the publicity of a lawsuit?
Made in protest of the Vietnam War and originally on 16mm film stock, Mickey Mouse in Vietnam was considered lost for years until it suddenly resurfaced on YouTube in 2013. (Just wait and see: If and when London at Midnight [1927 / surviving bits] finally resurfaces, it'll be on YouTube.) The one-minute short takes the famous slogan "Join the Army, see the world, kill people" and redoes it as "Join the Army, see the world, die."
Originally screened at the 1968 Angry Arts Festival, the creative force behind it was [Whitney] Lee Savage (17 Dec 1928 – 6 Sept 1998), an American artist (see below) who went on to do shorts for Sesame Street, and Milton Glaser, a designer best known for having created the "the iconic I ♥ NY logo". (As an "I ♥ Berlin" person, closer to our heart is the less known fact that he designed DC's Bronze Age "bullet logo" above.) 
Two People (1964),
Painting by Whitney Lee Savage
Mickey Mouse in Vietnam isn't exactly well drawn or masterfully animated, but then, it doesn't/didn't need to be to get its anti-war sentiments across. As Milton Glaser explains at Buzzfeed, "Well, obviously Mickey Mouse is a symbol of innocence, and of America, and of success, and of idealism —and to have him killed, as a soldier, is such a contradiction of your expectations." 
As an added attraction, an old protest song
from Country Joe & The Fish:

The Ghoul (Great Britain, 1933)

$
0
0
First, the history lesson: Hot on the heels of his two horror hits (and eventual classics), James Whale's Frankenstein (1931 / trailer) and Karl Freund's The Mummy(1932 / trailer), Boris Karloff returned to his native England to star in this, The Ghoul, the first British horror film of the sound era and, at least according to one source, Karloff's first role in a British film. And, likewise, the first movie to be given an "H" (for "Horrific") by the British Board of Film Censors.
Trailer to
The Ghoul:

The source material for the movie is/was a play of the same name by Dr. Frank King (1892 – 3 Dec 1958) and Rev. Leonard Hines (18 Aug 1889 – 1975), which in turn is/was based on an early "thrilling mystery" novel also entitled The Ghoul (1928) by the previously mentioned and mostly forgotten but productive crime fiction author Frank King. (His equally mostly forgotten, kill-capable, private detective anti-hero Clive "Dormouse" Conrad, to give you an idea of productive King was, appeared in 21 novels between 1936 and 1958.)
As adapted for the screen by Rupert Downing, John Hastings Turner (16 Dec 1892 – 29 Feb 1956), and Roland Pertwee (17 May 1885 – 26 April 1963), the last of whom later also helped script The Halfway House [1944 / trailer] and Madonna of the Seven Moons (1945 / let's smoke),*The Ghoul jettisons much of the original plot in the book about a master criminal known as "The Ghoul" and, instead, pursues the formula of an "old dark house" movie sprinkled lightly with the Egyptian proclivities of The Mummy and a monstrous countenance (possibly a nod to the disfigured faces sported by Karloff in both Frankensteinand The Mummy). A hit in England, but less successful when imported to the US of A, The Ghoul eventually became a "lost film" that achieved an almost legendary status as a great film due to surviving stills.**All that aside, according to Michael Samerdyke in his book Horror 213, Volume 1, Karloff himself supposedly "expressed the hope that it would stay lost".
*And is, incidentally, grandfather of Sean Pertwee, of Event Horizon(1997), Dog Soldiers(2002), Renaissance (2006 / trailer), Botched(2007), Mutant Chronicles(2008) and much, much more.
**Much like, if you get down to it, London after Midnight (1927). Considering how disappointing its unofficial remake Mark of the Vampire (1935 / trailer) is, London after Midnight would probably never live up to expectations were it ever to be found.
It didn't. First, in 1969, a damaged copy was found in communist Czechoslovakia, and then, in the 1980s, an un-mutilated copy was discovered in a forgotten vault at Shepperton Studios. And what does that un-mutilated copy reveal?
Well, basically, that The Ghoul is hardly worthy of its legendary status as a masterpiece of horror, but quite enjoyable in its dated way and perfect (but, perhaps, for one scene in which Karloff takes a knife to his chest) for a rainy afternoon with the wee kiddies. And for those out there who understand a ghoul as something somewhat along the lines of an early version of the contemporary zombie — i.e., as "a legendary evil being that robs graves and feeds on corpses" [Webster's] — rest assured no corpses are fed upon in The Ghoul. The robbery of a jewel from a dead man, however, does play a major part in the plot.
The titular monster of The Ghoul is the Egyptologist Professor Henry Morlant (Boris Karloff), whose monstrous face looks less like the disfiguring result of years under the burning desert sun than as if a lab experiment blew up in his face. The ugliness of Morlant's visage, however, does well to reflect the ugliness of his soul: a man obsessed with immortality, there is little to like about him. His deathbed instructions are that he be buried with The Eternal Light, a stolen Egyptian jewel of great value, so that he can achieve immortality when he places it in the hand of the statue of the god Anabus — though how he should do that after he is dead is never broached. He dies, the jewel is stolen, heirs and others show up on the scene, and then a murderously angry Morlant awakens and staggers forth from his crypt…
That Karloff was possibly not enamored by The Ghoul is easy to understand: he is not given much to do. His character is a bad man, plain and simple, both on the deathbed and after he rises from the tomb. Still, as little as he has to work with, Karloff is effective; if his voice might be a bit to pleasingly melodious to truly drip the ruthlessness of his character, his expressive face and body language are nevertheless well employed whenever he appears onscreen (basically at the start and end of the movie). But Morlant being the one-dimensional character that he is, it is hardly surprising that Karloff is, on the whole, upstaged by the great and gaunt Ernest Thesiger (15 Jan 1879 – 14 Jan 1961) as the Scottish butler Laing,* who steals the jewel less due to greed than because he thinks it would better serve Morlant's heirs than a dead man. (There are, however, various nefarious gentlemen who would gladly get their mitts on the jewel for their own betterment…)
*Coincidentally enough, the year previously in James Whale's horror comedy The Old Dark House (1932 / trailer), Karloff played the butler to Ernest Thesiger's master of the house. Most people know Thesiger, if at all, from his wonderfully campy turn as Dr. Pretorius in The Bride of Frankenstein (1935 / trailer).
As directed by minor director Thomas Hayes Hunter (1 Dec 1884 – 14 April 1944), The Ghoul is oddly inconsistent visually and, once too often, flat and dull. The opening scene of Aga Ben Dragore (Harold Huth [20 Jan 1892 – 26 Oct 1967]) ascending some stairs, with its excellent Expressionistic use of light and shadow and framing and depth of vision, gives rise to high hopes. But unlike the general excellence of the set design, the Expressionistic artistic flourishes come and go throughout the movie. Indeed, during the torch-lit scene of Prof. Morlant's rise from the tomb, for example, a scene that easily could have been made moody, expressive and full of frightful dread, the lighting is bright and unexpressive and lacking of any emotion.
Ditto with the camerawork and framing. An early scene in the library of Morlant's mansion, shot in a smooth but unobtrusive camera pan and moving camera, offers the promise of visually intriguing and pleasurable camerawork, but soon thereafter The Ghoul is pretty much reduced to an almost Poverty Row-reminiscent static camera focused on blocked scenes. This does little to enliven the events and, instead, emphasizes the stage roots of the entire production. Things do improve a bit again after Morlant rises, now seemingly super-human (as in: look what he's doing to the bars in the picture way at the top of this review), but it is almost a case of too little, too late. Thomas Hayes Hunter, obviously an employed director instead of an engaged director, simply didn't have the committed creative and artistic drive that would have been needed to make the movie a continual visually aesthetic and effective (if not affective) horror movie.*
*Cf.: Paul Leni's Cat and the Canary[1927 / full movie] and Roland West's The Bat Whispers[1930 / full movie], for example, are excellent examples of how a director's committed creative and artistic drive can truly elevate arguably stale material.
But then, The Ghoul is not really a horror movie; it is, as mentioned earlier, more of a horror comedy in the mold of the old dark house films. And in regard to the comedy, which is 98% of the verbal kind (i.e., the dialogue), it is often far more effective than many similar movies of the kind. True, the movie's male hero, Ralph Morlant (Anthony Bushell[19 May 1904 – 2 April 1997]) is an unlikable bore, the type of English chap one would best like to knock over the head or see fall victim to an untimely death, but he does often have some funny putdowns and snide remarks (he's obviously a Times reader) — but then, almost everyone in the movie has some witty if not inspiringly funny dialogue, but for Karloff.
Credit must surely be given, however, to the actress Kathleen Harrison (23 Feb 1892 – 7 Dec 1995, of The Ghost Train [1941 / full movie], Turn the Key Softly [1953 / full movie], Cast a Dark Shadow [1955 / trailer] and more), who plays the movie's 100% true comic relief character, Kaney, for managing to be the comic relief through-and-through without remaining the annoyance that such characters generally are. Her obsession with sheiks and beatings, which would surely never have reached a post-Hayes Code movie, is one of the many highpoints of her comedy. To the movie's advantage, she is also incorporated into the final resolution in a manner that also makes her a bit more than simply an enjoyable third wheel.
The dialogue of The Ghoul, as stagey and stilted as it often is, is without doubt one of the most enjoyable aspects of the movie, especially when delivered as dryly as it is by Harold Huth, as grumpily as by the lawyer Boughten (Cedrick Hardwicke [19 Feb 1893 – 6 Aug 1964, of The Ghost of Frankenstein(1942 / trailer), The Lodger (1944 / full film), The Invisible Man Returns (1940 / trailer), The Picture of Dorian Gray (1945 / trailer), The Hunchback of Notre Dame (1939 / trailer), Lured (1947 / trailer), Baby Face Nelson (1957 / trailer) and so much more), and as archly as by Ernest Thesiger.
It is a bit of a letdown that The Ghoul ends with a cop-out "plausible" non-supernatural explanation for Morlant rising from the dead — an explanation said almost in passing amidst all the crosscutting of scenes during the movie's climax which, in the end, may purposely negate all possibility of the supernatural but nevertheless fails to explain how Morlant gets enough strength to literally bend steel bars. (Also illogically inconsistent: Morlant strangles Mahmoud (D.A. Clarke-Smith [2 Aug 1888 – 12 March 1959]), the most obvious foreigner, to death but kills neither of the females — not even the one he strangles.) Still, at least the final showdown is amidst flame and fire and danger, thus finally adding a sense of imperilment not present for most of the movie.
The Ghoul is, in the end, an enjoyable if minor movie that could easily have been much better than it is and, conversely, could easily have been a lot worse. Good for a laugh (often) and good for shiver (not as often), it starts well and ends well but is a bit dry in the middle — but remains divertingly entertaining in that way only old "horror" movie's can. If you're a fan of old B&W horror films, it is well worth a gander and you will probably enjoy The Ghoul; other people — especially those raised on the Net and today's adrenaline-heavy movies — will probably enjoy it a lot less, if at all.

"I'm sorry there should be this sort of atmosphere. After all, we're only ships that pass in the night." 
Nigel Hartley (Ralph Richardson)
 "Hmmm. Do you want a drink, or will you pass now?"
Broughton (Cedric Hardwicke)


The Ghoul
The Full Movie:
 

Short Film: Less than Human (Denmark, 2017)

$
0
0

Although a zombie film, this award-winning computer animation short film is anything but a display of gut-munching and blood. No, the best word that might describe Less than Human,which is as much of a tragicomedy as a zombie short, is one not normally associated with the undead: poignant.*
*For zombies, gut-munching and blood, we suggest you see other Short Films of the Month, such as June 2017's Love of the Dead (2011), April 2017's Rotting Hill(2012), May 2016's Meat Me at Plainville (2011), April 2016's great Fist of Jesus (2012), Dec 2013's A Very Zombie Holiday (2010), Aug 2011's Paris by Night of the Living Dead(2009), or May 2010's Zombeer (2008).
Poster above taken from the Less than Humantumblr.
The Imdb has a relatively cut-and-dry and not 100%-on-the-mark plot description: "A freelance reporter [voiced by Scott Keck] ventures into a post-zombie resettlement camp and interviews two ex-zombies [Dave Dyson = Andy, and Lawrence Marvit = Don] trying to find out whether ex-zombies are ready for reinsertion into normal society." The two tragic figures of this wryly humorous tale are very much still undead, if each with a consciousness that includes memories from their lives as humans. Within its short running time, Less than Human takes a look at friendship, prejudice and tolerance, and the nature of being human. It also tackles the concept of the failed impartiality of press coverage — as we see it, the reporter must come from FOX News.
Less than Human, like our June 2013 Short Film of the MonthBackwater Gospel (2011), is a student bachelor's project at Denmark's The Animation Workshop in Denmark.
To take the some info (like the photo above) straight from the short's website: Steffen Bang Lindholm (the director) initially pitched the idea in the spring of 2015, bringing together an end team of eight students — four animators and four computer graphic artists — not one of whom was named Hans Christian. (The names, no particular order: Ditte Marie Ludvigsen, Lasse Steinbeck, Matilde Soeltoft, Anna Eckhoff Ohrt Nissen, Julie Rebecca Billeskov Astrup, Morten Vestbjerg Boegelund Lassen and Ida Marie Soendergaard). That's them above in the photo. The film was made over 10 months, from late August 2015 to early June 2016.

R.I.P. Maria Rohm, Part III: 1970-75

$
0
0


13 August 1945 – 18 June 2018

Vienna-born Maria Rohm (nee Helga Grohmann), talented cult actress and wife of British independent film producer and screenwriter Harry Alan Towers (19 Oct 1920 – 31 July 2009), went the way of the wind in June at the age of 72 in Toronto, Canada, the home of Bruce McArthur. Rohm, who began her acting career as a child stage actress, seems to have begun her film career at the age of twenty playing a prostitute in a 1964 film. Soon after she married producer Towers, also in 1964, he began putting her in many of his projects, including nine different movies directed by Jess Franco (12 May 1930 – 2 April 2013). She retired from acting in 1976, at the young milfy age of 31, but like her 25-year-older husband remained active as a producer. 

Go here for Part I: 1964–67 
Go here for Part II: 1968–69


Count Dracula
(1970, dir. Jess Franco)

"The children of the night... what music they make."
Count Dracula (Christopher Lee)

 
We took a quick look at Count Dracula way back in 2012, in They Died in September 2012, Part VII: Herbert Lom, where we more or less wrote: "Aka Nachts, wenn Dracula erwacht. Hebert Lom as Prof. Helsing in his second (and last) Jess Franco film — alongside no lesser names than Christopher Lee, Klaus Kinski (who never actually speaks throughout the whole film), and Soledad Miranda — not to mention Fred Williams and Jack Taylor. This is perhaps the only movie version of Dracula that maintains the premise of the book that Dracula is an old man who gets younger each time he feeds.
"Digitally Obsessed tells a plot we all already know: 'Young solicitor Jonathan Harker (Fred Williams) journeys to Transylvania to deliver a deed to an English abbey to Count Dracula (Christopher Lee). But before long he begins to suspect that the count may be something more than human, and he works with Professor Abraham Van Helsing (Herbert Lom), Dr. John Seward (Paul Muller) and Quincy Morris (Jack Taylor) to rescue his fiancée Mina Murray (Maria Rohm) after her friend Lucy Westenra (Soledad Miranda [9 July 1943 – 18 Aug 1970]) falls victim to the vampire's bite.'
"The general consensus with this film is that it is both one of Franco's more subdued and successful films, despite the ragged edges of the low budget."
"For those who think Jess Franco's movies contain too much nudity and gore — this one has no nudity at all, and virtually no gore. [Cult Movie Reviews]"
Yep, neither Soledad nor Maria Rohm show nary a nipple in the movie. As that fat idiot in the White House is apt to say: "Sad. Another liberal plot to undermine the American democracy."
 
German trailer to
Count Dracula:
Ignoring Soledad Miranda's supposed un-credited appearance somewhere in the early Jess Franco movie La reina del Tabarín aka Queen of the Tabarin Club (1960), Count Dracula is probably the first of her feature-film Franco projects to get a general release. Unknown to many non-Spanish fans of her films, Soledad Miranda already had a successful career in Spain as a pop singer prior to becoming Franco's most famous "discovery". 
Not from the film —
Soledad Miranda sings:
Trivia: Though they share scenes, supposedly Christopher Lee and Herbert Lom never shot a scene together. And although Christopher Lee famously hated his iconic role of Dracula, and was won over for the movie with great difficulty, he appeared as Count Dracula in three other movies in that same year, 1970: a cameo in Jerry Lewis' unfunny One More Time(trailer), and in the two Hammer productions, Peter Sasdy's Taste the Blood of Dracula (trailer) and Roy Ward Baker's Scars of Dracula (trailer). Lastly, Franco's version of Dracula is the first screen version of the novel to include the character of Quincey Morris (Jack Taylor).
Finally, it should perhaps be said that while "the general consensus with this film is that it is both one of Franco's more subdued and successful films", the emphasis should be on "one of Franco'smore subdued and successful films"— particularly if you are not a fan of his "outsider-art" directorial eye. As a mainstream film, the general attitude is that "though certainly literate, the film nevertheless fails as both horror and drama". But then, should you ever read the plodding and disorganized "epistolary-style" original novel by Abraham "Bram" Stoker (8 Nov 1847 – 20 April 1912), you'll find that by modern standards, the book likewise fails as both horror and drama.


Dorian Gray
(1970, dir. Massimo Dallamano)

We took a quick look at Dorian Gray way back in 2012, in They Died in September 2012, Part VII: Herbert Lom, where we more or less wrote: "Director Dallamano, who died of a car accident in Rome on 14 November 1976, was a cinematographer (for A Fistful of Dollars [1964], among others) who moved into the director's chair; among his more enjoyable Eurotrash projects are Devil in the Flesh(1969 / trailer), What Have You Done to Solange? (1972 / trailer*), The Night Child (1975 / trailer) and, of course, this flick here. Herbert Lom plays Wotton, a gallerist who has the hots for Dorian (played by Helmut Berger, seen here below with his big hands).
* We looked at this movie in 2014 in R.I.P.: Joachim Fuchsberger.
"As Rock! Shock! Pop! says, 'Set to a great fuzz guitar score buried under some heavy effects pedal work and well paced and beautifully shot, The Secret Of Dorian Gray might not appeal to those looking for a straight (pun intended) adaptation of Wilde's original story as it periodically descends head first into camp, but it's well shot and well acted and never short on weird.'
"The plot? Really — don't you ever read books? Handsome young narcissist gives himself over to a lascivious lifestyle and his portrait ages instead of himself. Tragedy for everyone involved."
It should be mentioned that this version of the tale moves the action from Victorian England to the Swinging London of, dunno, Blow Up (1966 / trailer) and/or the opening scenes of Austin Powers (1997 / trailer). It is "a film that stands head and shoulders above the rest for its appealingly tawdry Eurotrash aesthetics, its flawless evocation of Swinging '60s mod, and its flagrant, unabashed sleaze factor. […] Director Dallamano hits pay dirt with the casting of Helmut Berger. A man so staggeringly beautiful that he makes personal fave Joe Dallesandro (certainly one of the most gorgeous men to have ever walked the planet) look like Ernest Borgnine. [Dreams Are What Le Cinema Is For...]"
Trailer to
Dorian Gray:
The movie was a Towers and Samuel Z. Arkoff   (12 June 1918 – 16 Sept 2001) coproduction. Maria Rohm has a minor role as Alice Campbell, a character not found in the book; Marie Liljedahl, however, plays the tragic Sibyl Vane, who is in the book and is the first true victim of Dorian moral decay. Unlike in the novel, Dorian does not inadvertently kill himself, but makes a conscious decision to do so — a narrative decision that rather undermines the entire tale. Anyone who knows what the bisexual actor Helmut Berger, the man playing Dorian Gray, looks like today might be tempted to say he is a living picture of Dorian Gray… but then, he is over 70 years old.
The painting of Dorian Gray below, by the way, was painted by the American painter Ivan Le Lorraine Albright (20 Feb 1897 – 18 Nov 1983) for the 1945 film version of the tale (trailer). The painting now hangs in the Whitney.


Cuadecuc, vampir
(1971, dir. Pere Portabella)
The documentary as experimental film. In this case, a documentary on the making of Jess Franco's Count Dracula (1970). All the stars, Maria Rohm inclusive, are found in this project.
Over at Letterboxd, some dude calling himself Disgustipated says, "It is almost as though a movie director has taken one of his kids on set and given him a camera to go play with while the grown-ups go about making a real movie. Except in this case the kid is an exceptionally talented experimental film-maker with a nose for creepy atmospherics, experimental filmic flourishes and meta-cinematic inserts, all used to great effect to create an indelible experience that will imprint itself on your amygdala in an inexplicable way that a more conventional film cannot. Imagine if 'the making of' documentary for a horror movie was a darkly foreboding silent horror movie, which has taken on a remarkable life of its own. Probably one of the more interesting credits for Christopher Lee and his final scene in the film is a fitting send off. I dare you to check this one out." 
Trailer to 
Cuadecuc, vampire:
On his own website, Pere Portabella explains his film as follows: "Vampir-Cuadecuc is possibly a key film in understanding the transition in the Spanish filmworld from the period of the 'new cinema' (permitted by the Franco government) towards the illegal, clandestine or openly antagonistic practices against the Franco regime. It consists of shooting the filming of a commercial film El conde Drácula by Jesús Franco. Portabella practices two types of violence on the standard narrative: he totally eliminates color and substitutes the soundtrack with a landscape of image-sound collisions by Carles Santos (1 July 1940 – 4 Dec 2017). Filmed provocatively in 16mm and with sound negative, the tensions between black and white favor the strange 'fantasmatic materialism' of this revealing analysis of the construction mechanism for the magic in dominant narrative cinema, which at the same time constitutes a radical intervention in the Spanish cinematographic institution."
Jonathan Rosenbaum, who saw an original screening of the film, has some interesting info about the event: "It was showing […] at a now-defunct cinema called Le Français. It's worth adding that the name of the filmmaker and the title of his film were both slightly different from the way we know them today, for reasons that are historically significant. The name of this Barcelona-based filmmaker was listed as Pedro Portabella and his film was called simply Vampir. Why?  Because he was Catalan, a language forbidden in Franco's Spain, making both the name 'Pere' and the word 'Cuadacuc' (which I'm told is an obscure Catalan term meaning both a worm's tail and the end of a reel of unexposed film stock) equally impermissible. Furthermore, Portabella wasn't present at the screening because, as I later discovered, he was one of the two Spanish producers of Luis Buñuel's Viridiana (trailer)one decade earlier, and the Franco government was punishing him for having helped to engineer this subterfuge by confiscating his passport, making it impossible for him to travel outside of Spain. And for those like myself who wondered how a film as unorthodox as this could play in Franco Spain at all, it eventually became clear that it survived, like the Catalan language itself (not to mention Dracula), clandestinely, via secret nourishment."
Rosenbaum, like so many who have seen this mesmerizing exercise in avant-garde filmmaking, makes positive reference to both Murnau's Nosferatu(1922 / full film) and Dreyer's Vampyr (1932 / a trailer), twoearlyclassics of art house horror. 


Black Beauty
(1971, dir. James Hill)
Possibly the first G-rated movie Maria Rohm ever appeared in — thus signaling the end of her cult career. This family friendly movie is not found on our list of films to see. It is based, of course, on the novel by Anna Sewell (20 March 1820 – 25 April 1878), with a screenplay by Wolf Mankowitz (7 Nov 1924 – 20 May 1998), a man who had written screenplays for more entertaining films, including The Day the Earth Caught Fire (1961 / trailer) and The Two Faces of Dr. Jekyll (1960 / trailer). Director James Hill (1 Aug 1919 – 7 Oct 1994) is perhaps best known as the director of Born Free (1966 / trailer), but we personally prefer some of his other movies, namely: A Study in Terror (1965 / trailer) and The Man from O.R.G.Y.(1970), the last of which is the only screen adaptation (that we know of) of any of the paperback pulp novels by that great, productive, mostly forgotten, and highly dated sleaze satirist "Ted Mark", aka Theodore Gottfried (19 Oct 1928 – 7 March 2004).
The tale, of course, is told from the viewpoint of the horse prior to being sent to the glue factory (just kidding about the last bit), so it is perhaps not surprising that the Movie Scenesays that the movie "is beautiful and director James Hill […] has created a nice-looking movie but the actual story ends up bland and uninteresting, coming across as little more than a collection of stories with different characters and just Black Beauty tenuously linking them." (Sounds like the book, actually.)
Roger Ebert, on the other hand, once gave the movie three stars and explained the whole plot: "All things considered, Black Beauty leads quite a life, for a horse. She grows up as the best pal of a boy named Joe (Mark Lester of What the Peeper Saw [1972 / trailer]) and Whoever Slew Auntie Roo? [1971 / trailer]). She's taken away by a drunken young squire (Patrick Mower of The Devil Rides Out [1968], Cry of the Banshee [1970 / trailer] and Incense for the Damned aka The Bloodsuckers [1971 / trailer]), but he is killed one night and she escapes into the hands of gypsies. Then a horse trader sells her to a circus in Spain, and after learning lots of tricks she is given by the circus owner (Walter Slezak [3 May 1902 – 21 April 1983]) to kindly Sir William (John Nettleton of And Soon the Darkness [1971 / trailer]), who gives the horse to his daughter (Maria Rohm), who gives Black Beauty to her fiancé (Peter Lee Lawrence [21 Feb 1944 – 20 April 1974] of Love and Death in the Garden of the Gods / Liebe und Tod im Garten der Götter [1972 / trailer]), which is how Black Beauty winds up fighting for the British in India. The fiancé is killed in India, but his lifeless hands cling gallantly to his spear and Black Beauty charges anyway. This makes her a war hero and earns her passage back to England, where fame is brief and she is sold by a drunken lieutenant (Daniel Martín [12 May 1935 – 28 Sept 2009] of A Fistful of Dollars [1964], Crypt of the Living Dead [1973 / trailer], Devil's Kiss [1976 / fashion show] and Especto [1978 / Spanish trailer]) for five pounds. Then she gets pneumonia, and is put to work hauling a coal wagon. When things look their bleakest, Black Beauty is rescued by a kindly old lady and her young footman (who, wouldn't you know, is Beauty's old pal Joe)."
Trailer to
Black Beauty:
The young lady seen most in the trailer above is the young Uschi Glas, also of Umberto Lenzi's Seven Blood-Stained Orchids (1972), The Sinister Monk (1965 / trailer), The College Girl Murders(1967) and Gorilla Gang (1968 / trailer) and Die Tote aus der Themse (1971 / German trailer) — Edgar Wallace films, one and all — and the unjustly unknown Eurotrash disasterpiece Die Weibchen aka Feminine Carnivores (1970). 
Trailer to
Feminine Carnivores (1970):
Mark Lester, in case you've forgotten, was last in the headlines when he claimed that he thinks that Paris Jackson might actually be his daughter. (Sorry, Mark, but like you totally have the wrong skin color.) 


Call of the Wild
(1972, dir. Kenneth Cooper "Ken" Annakin)
Among the movies Charlton "I'm dead, so take my gun" Heston (4 Oct 1923 – 5 April 2008) made around the time of his classics Omega Man (1971 / trailer) and Soylent Green (1973) is this movie based on one of Jack London's most famous works, the novella The Call of the Wild. Considering the commercial viability of Heston's name at the time, one could well say that his casting was the closest a Towers film ever came to having a current Hollywood A-list actor in its cast.
The director, Kenneth Cooper "Ken" Annakin (10 Aug 1914 – 22 April 2009), though hardly known for originality or breaking ground, and possibly already forgotten in general, was likewise a reliable feature-film director known at the time (1972) for "all-star, splashy, big-budget European/American co-productions".
Call of the Wild was shot on location in Spain, Norway and possibly Finland, the last of which is a country in northern Europe now famous as the location where, in July 2018, Donald Trump, after labeling Europe a foe of the US, satisfied his penchant for golden showers with Putin in a toilet stall.And it was good.
DVD Talk points out that "[…] The Call of the Wild (1972) is a real anomaly, downright bizarre even. It improbably brought together A-list Hollywood star Charlton Heston, still near the peak of his fame, with shady Harry Alan Towers, a one-time procurer, bail-jumper, and possible Soviet spy-turned-movie producer, best known for his cheapo Fu Manchu movies and long association with schlockmeisters like director Jesus Franco. Typical of Towers's productions, The Call of the Wild is a multinational patchwork filmed in Norway and Spain, with American, French, German, Austrian, and Spanish actors, whose salaries were shakily financed with money coming from all over Europe. Though the direction is credited to Ken Annakin, a veteran British filmmaker who knew his way around big league pictures, The Call of the Wild is itself only marginally professional, looking not at all like Heston's other movies but typical of Towers's oeuvre."
 
Depending on which plot description one reads, Heston's character, John Thornton, is either a government mail carrier or a prospector. Regardless of which, the basic plot remains the same: a domestic dog named Buck is sold off to the Klondike where, after initial difficulties, it becomes the alpha leader of the dogsled team. The reoccurring character with whom Buck bonds most is Thornton, but Buck also falls into the hands of other characters at various points throughout the film, including the wealthy trio of Charles (Friedhelm Lehmann), Mercedes (Maria Rohm), and Charles's brother Hal (Horst Heuck). They die…. In fact, all humans die in the tale, which is why Buck can finally answer "the call of the wild" at the end.
As The Movie Scene points out, when  "watching [The Call of the Wild] now, the acts of violence towards dogs, the dubious dubbing thanks to it being a European movie and the almost obvious storyline of a dog having an adventure is seriously off putting. It makes me glad that movies like this are no longer made and the acts of animal cruelty would most definitely not be allowed let alone in one called a family adventure. But behind these dubious scenes and a middle section which seems to drift along there is also a remarkably charming storyline which wins you over." (Charming? Aside from the violence and animal cruelty, again: everyone dies.)
Distributed by some minor firm called Intercontinental Releasing Corp. (IRC), they screwed up on the copyright so at least one version of The Call of the Wild has entered the public domain.
The full film —
The Call of the Wild:
The movie was not well received when it was originally released. Indeed, at one point in his life Charlton Heston supposedly called it "the worst movie I ever made". In his autobiography The Actor's Life — Journals 1956-1976, Heston also wrote: "We're faced with the endless problems of organization, personnel, dogs, publicity . . . I fear I've fallen in with amateurs and con men. This had not been a picture really but a production deal, patched together with incredible adroitness and negotiating skill — and no filmmaking talent whatsoever."
Somewhere along the way in the movie, as DVD Talk puts it, "Thornton searches for his missing team while resolving his sort-of love triangle between an ambitious saloon owner (Michèle Mercier) and his beloved Buck." We mention this primarily because of DVD Talk's picturesque wording — visions of bestial three-ways cross our minds — and because it gives us reason to include the photograph below, not from the movie, of Michèle Mercier (of Women of Devil's Island[1962 / trailer],Black Sabbath[1963 / trailer],Cemetery Without Crosses[1969 / trailer], and Web of the Spider [1971 / German trailer]) in her prime.


Treasure Island
(1972, dir. John Hough & others)

Maria Rohm appears as the extremely MILFy Mrs. Hawkins, the owner of Hawkins' Tavern, the pub where the tale begins. (She's in the clip directly below.)
Scene from
Treasure Island:
This time around, Harry Alan Towers snared no one less than Orson Welles (6 May 1915 – 10 Oct 1985) to play Long John Silver. Welles himself, however, was less than thrilled to participate as his commitment was due to an almost ten-year-old contractual commitment: "Welles only offered to direct and star as Long John Silver in 1964 in order to secure funding for his cherished Falstaff project Falstaff– Chimes at Midnight (1965 / trailer), but he made only a cursory effort to make that version, dispatching Jess Franco to film some second-unit material, before abandoning the pretence entirely. However, he was still legally obliged to make the movie if new funding was ever obtained, which it duly was in 1972. The only problem with that was that it was prolific British schlockmeister Harry Alan Towers into whose hands the resurrected project fell. Towers was a poor moviemaker but a shrewd businessman, and he had three versions of the movie made — English, Italian and Spanish — by three different directors. He also had the screenplay Welles had prepared for the 1964 version re-written — a fact that prompted the actor to request that his name be removed from the credits (he's credited under the pseudonym O. W. Jeeves). [2020 Movie Reviews]" 
To what extent the two other directors — Andrea Bianchi (31March 1925– 4 Nov 2013) and Antonio Margheriti (19 Sept 1930 – 4 Nov 1972) — actually directed complete, different versions is up to question. In an interview, John Hough claimed to have directed the whole movie, with Andrea Bianchi (credited, as often, as "Andrew White"), the second-unit director, listed on the European release for tax reasons.
John Hough, by the way, in his day directed many a much more entertaining and trashy film for mature audiences than this: Hammer's Twins of Evil (1971 / trailer),The Legend of Hell House (1973 / trailer), Dirty Mary Crazy Larry (1974 / trailer), The Watcher of the Woods (1980 / trailer), The Incubus (1982 / trailer), and the trash classic American Gothic(1987 / trailer below). Oh, and he also directed the turd that is the D-2-V Howling IV: The Original Nightmare (1988 / trailer). In all truth, however, alone or combined, Andrea Bianchi and Antonio Margheriti directed more entertaining movies than Hough.
Trailer to
American Gothic (1987):
Treasure Island, of course, is based on Robert Louis Stevenson's classic novel of the same name; Harry Alan Towers was to return to the tale again 17 years later in 1999 when he coproduced a version of the tale starring Jack Palance (trailer).
But when in comes to this version here, The Movie Scene has the plot: "One day Billy Bones (Lionel Stander [11 Jan 1908 – 30 Nov 1994]) comes to stay at a pub run by Mrs. Hawkins (Maria Rohm) and where her young son Jim (Kim Burfield) works. But Billy has a love of the sauce and when he dies it is Jim who ends up in possession of a map showing the location of Captain Flint's treasure. Jim along with Squire Trelawney (Walter Slezak [in his final film appearance]) and Dr. Livesey (Angel DelPozo) decide to follow the map which leads them on a sea journey with Captain Smollett (Rik Battaglia [18 Feb 1927 – 27 March 2015]) who agrees to take them to the island. But everyone aboard including former pirate turned ship's cook, Long John Silver (Orson Welles) learns of the treasure map and that makes it a dangerous place to be especially with Silver willing to do anything to get his hands on the treasure."

Derek Winnert says that "This rumbustious, undervalued 1972 Spanish-shot version of Robert Louis Stevenson's 1883 classic young adults' novel about a boy's life with pirates on the high seas proves a pleasant, enjoyable surprise. It's good that, this time, much of the plot and the linking narrative, spoken by the actor playing Jim Hawkins, is faithful to the original book. […] Walter Slezak, Lionel Stander, Rik Battaglia and Ángel del Pozo are also flamboyant assets to liven up the movie as Squire Trelawney, Billy Bones, Captain Smollett and Doctor Livesey. And young Kim Burfield is more than adequate as cabin lad Jim Hawkins."
 
An opinion countered by the writer at Mystery File, who says: "I had somewhat high hopes for Treasure Island, but I probably should have known better. It's probably one of Orson Welles' least-known films and it's most certainty [sic] that way for a reason. Produced by Harry Alan Towers, this somewhat genial, but ultimately unsatisfying adventure yarn …."
 
More-interesting films by the various names involved: Rik Battaglia is found in the minor classic Nightmare Castle(1965 / trailer) and non-classic White Slave (1985 / trailer); Ángel del Pozo is in the classic Horror Express (1972 / trailer), the forgotten — for a Bunel film — Leonor(1975 / music) and the trashy Assignment Terror (1970 / German trailer)*; and character actor Lionel Stander is found in any of the following: Cul-De-Sac (1966 / trailer), Pulp (1972 / trailer), Wicked Stepmother (1989 / trailer), The Loved One (1965 / trailer), Blast of Silence (1961 / trailer), and so much more.
*A film high on our "to see" list.
Not to be mistaken for Towers's film —
Scott King's Treasure Island (1999):



Sex Charade
(1972, writ. & dir. Jess Franco)
The last film that Maria Rohm made with Franco was this movie, Sex Charade, which is considered by most a lost film — which would mean that the poster below is "fake". Anyone know?
In any event, Rohm is not the star: instead, the babe of focus is Franco's muse of the time, the beautiful Soledad Miranda (9 July 1943 – 18 August 1970).
The plot can be found at the imdb, where "Anonymous" says, "The story revolves around Anne (Miranda) who is held hostage by an escaped maniac from an insane asylum. The fugitive forces her to tell stories to prevent her from getting help. Anne then spins a fanciful tale about a girl's escape from her imprisonment by savages and her longing to return to captivity."
Fan-made music video to
a song of Soledad's:
The imdb and other sites list the film as from 1972, but most sites claim the movie was released in 1970 — as does Lost Media Archive, whence most of the photos here come. The LMA further claim, "Sex Charade […] was one of three films Franco shot in Liechtenstein (the other two being Nightmares Come at Night [1970 / scene] and Eugenie de Sade [1973]). […] The film apparently had a short theatrical run in France and was partially released in Belgium as a bizarre collage featuring footage from other films."
 
The starring cast consisted of Soledad Miranda, Jack Taylor, Howard Vernon, Maria Rohm, Diana Lorys and Paul Muller — Franco regulars, one all. The underappreciated Diana Lorys also starred in one of our favorite movies, Armando de Ossorio's oft-maligned gothic, vampire comedy flick Malenka aka Fangs of the Living Dead (1969).
Trailer to
Fangs of the Living Dead:


And Then There Were None
(1974, dir. Peter Collinson [1 April 1936 – 16 Dec 1980])


"Same script, different locations. You always kill off the most expensive stars first!" 
– Harry Alan Towers on his three versions of Ten Little Indians

The first to go, Charles Aznavour, performs
The Old Fashioned Way (Les Plaisirs Démodés)
in And Then There Were None:
We took a quick look at And Then There Were None aka Ten Little Indians way back in 2012, in They Died in September 2012, Part VII: Herbert Lom, where we more or less wrote:
 
"Peter Collinson's career was already on the slide when he made this, the umpteenth film version of the famous Agatha Christie novel And Then There Were None (originally entitled Ten Little Niggers), the best-selling book of all books she ever wrote (in fact, it is the 7th best-selling book of all time). This version here, the first one to made in color, is also the second of three versions that producer Harry Alan Towers brought to the screen (the first being from 1965 [trailer]; the third, 1989 [trailer]).
"This version has a highly enjoyable international cast, to say the least, and unlike the original story, which is set on an island, the events here take place in a hotel deep in the Iranian desert. Herbert Rom appears here as Dr Edward Armstrong, who had been accused of causing a woman's death by operating on her while drunk. (Lom is also present in Towers' 1989 production, directed by Alan Birkinshaw, but as the General, who had caused the death of his wife's lover by sending the soldier on a suicide mission.)
"The plot, according to Wikipedia: 'A group of 10 people, strangers to one another, have all travelled to a hotel located deep in the deserts of Iran. Upon arrival they discover that their host is mysteriously absent. They are accused by a tape recording of having committed various crimes in the past which went unpunished by the law. As guests start to die, the remainder deduce that their unseen host is determined to murder them. Since a search of the hotel proves that there is no one hiding among them, they realize that the murderer is one of them'."

Trailer to
And Then There Were None:
"Peter Welbeck" (aka Harry Alan Towers) is the credited screenwriter, but then the script is almost the same as the 1965 version of And Then There Were None, for which he received co-writing credit. Maria Lohm has a relatively unglamorous part in this version of the tale, that of Elsa Martino, the housekeeper and cook. She, along with her husband Otto (Alberto de Mendoza[21 Jan 23 – 12 Dec 11] of Horror Express [1972 / trailer]), "maliciously and brutally caused the death of [their] invalid employer for [their] own financial gain". The film's final girl heroine, now named Vera Clyde, is played by a young Elke Sommer, of Flashback — Morderische Ferien (2000) and Hotel der toten Gäste (1965).
Ninja Dixon says, "To be honest, if you want to see a brilliant version of Ten Little Indians watch the Soviet version from 1987, Desyat Negrityat(Ninja's review / full film in Russian). That's a very faithful adaptation, maybe the only version 100% true to Christie's original vision. But until then, this one delivers cozy entertainment for Saturday mornings and that day you need to stay home because of a nasty cold."
We here at a wasted life, on the other hand, would recommend the less-than-faithful Bollywood version from 1965,Gumnaam. 
Dance scene in Gumnaam (1965),
the Bollywood version of Ten Little Indians:
As of recent, it has come to light that Christie may have purloined her basic plot from another book turned into a play turned into a film in which eight guests are brought together to a dinner party and killed one by one. The book, The Invisible Host, by Bruce Manning (15 July 1902 – 3 Aug 1965) and Gwen Bristow (16 Sept 1903 – 17 Aug 1980) was published in 1930, nine years before Christie's racistly titled novel. The play, The Ninth Guest by Owen Davis (29 Jan 1874 – 14 Oct 1956), was first performed in 1934, 13 years before Christie's play. The movie version of The Ninth Guest, directed by Roy William Neill (4 Sept 1887 – 14 Dec 1946), came out in 1934, 11 years before And Then There Were None (1945 / film). Roy William Neill's The Ninth Guestis now in public domain. 
Full film — Roy William Neill's
The Ninth Guest:


Closed Up-Tight
(1975, dir. Cliff Owen[22 April 1919 – Nov 1993])


OK, since this flick is listed in the imdb and various other online sources, we're including it here. One might assume it to be an obscure and forgotten British comedy, produced by Harry Alan Towers, which could well be a lost film and in someone's attic. But before you start searching, some things need to be considered.
The Internet is strangely uninformative about Closed Up-Tight, for example. No one has written about it, despite its intriguing cast (Maria Rohm, Marty Feldman, Robin Askwith, Terry Thomas, Ron Moody, Mark "I fathered Paris Jackson" Lester, and minor cult babe Annie Belle), and the same "poster" image is seen everywhere. But the "poster" usually found isn't even a poster: it is a page ripped from a magazine on which is written, at the bottom, "Shooting Start: June 1976"— a full year after the release date commonly given for Closed Up-Tight.
Personally, we don't think the movie was ever made (perhaps the shoot never even began).  Closed Up-Tight, odd spelling and all, is not found on most filmographies of any the actors outside of the imdb. And the French blogspot Chez Roubi's (Annie Belle Fan Blog) lends credence to the concept that film was never made by simply claiming that the film was a "Projet abandonné".
Of the names involved in the cast that never was, the most interesting to fans of cult flotsam are (outside of Maria Rohm) without doubt Robin Askwith and Annie Bell/Belle. In theory, Closed Up-Tight would have been the debut film of "Annie Belle". True, she had participated in four previous films, but in all her prior movies — including Jean Rollon's Lips of Blood (1975 / trailer) — she was credited either under her birth name, "Annie Brilland", or as "Annie Briand". 
As Annie Belle, she is the lead in the last film Maria Rohm acted, Annie aka Blue Bell (1976), which we look at in Part IV of this career review. Annie Belle, found in Laura (1976 / trailer), Velluto nero (1976), House on the Edge of the Park (1980 / trailer, with David Hess), and Absurd (1981 / trailer), retired after the decidedly unexciting bad film Escape from Death aka Luna di sangue (1989) to become a social worker. 
Trailer to
Velluto nero (1976):
Robin Askwith might no longer be a household name (and perhaps never was outside of Great Britain), but his recognizable face is found in numerous badly dated sex comedies as well as watchable movies (mostly in the 70s), the latter including Lindsay Anderson's If....(1968 / trailer) & Britannia Hospital(1982 / trailer), Pier Paolo Pasolini's The Canterbury Tales (1972 / trailer), the non-classic Queen Kong (1976, with Rula "VO5" Lenska [!]), Peter Walker's The Flesh and Blood Show (1972 / trailer), Horror on Snape Island (1972 / trailer, with Jill Haworth) and Horror Hospital (1973 / trailer, with Michael Gough). 
Trailer to
Queen Kong (1976):


El asesino no está solo
(1975, dir. Jesús García de Dueñas)

Aka The Killer Is Not Alone. Contrary to popular opinion, this Spanish thriller is not Maria Rohm's last movie, but it is close. A Spanish production, it doesn't seem to have been released in any other country. One of the producers, Andrés Vicente Gómez, co-produced some earlier Towers productions — for example, both Black Beauty (1971) and Treasure Island (1972) — which might explain how Maria Rohm came to get cast in one of her few non-Towers produced films. Among other later projects, Andrés Vicente Gómez produced such fun stuff like El día de la bestia (1995) and Killer Tongue (1996). 
Trailer to
Killer Tongue (1996):
The plot, more or less as found online: "Julio (David 'Tarzan' Carpenter), an only child of a wealthy family, murders a prostitute who tries to seduce him. He, in childhood, suffered severe trauma and this has caused serious problems with women. Because of this, he runs away and stays at a boarding house in Madrid, where he meets Monica (Teresa Rabal), the daughter of the owner (Lola Flores [21 Jan 1923 – 16 May 1995]). Monica finds him attractive … even as his obsession for killing is increases."
Not many people have written about the movie in English, but The Bloody Pit of Horror did and points out that "All of the actors do a decent job in their respective parts. Co-star Maria Rohm is interestingly cast playing three different characters; the opening murder victim, the prostitute living at the boarding house and Julio's childhood babysitter (and sports a different hair color in each role; red, blonde and mousy brunette, respectively)."
Over at the imdb, Red-Barracuda says that "It's not the most original concept in the world", but also says: "But this Spanish production still registers. It has decent performances and a story that essentially holds up. But more importantly it has a good sense of style. The killer's inner turmoil is shown by flashbacks, close-ups of eyes and eerie music. In the murder scenes, all of these elements kick in together and are well-executed. Generally speaking, it's a well-photographed film, with nice exterior shots of various Spanish locales and great detail of a religious festival incorporated into the story, which adds good additional atmosphere. The killer's obsession with women's shoes also adds a further fetishistic detail; similarly, images and sounds of trains add additional material that recalls his past trauma. The music varies from cheesy Spanish pop to atmospheric glockenspiel and piano driven pieces. […] Definitely a movie that deserves to be more widely seen."

Clip with Maria Rohm from
El asesino no está solo (1975):


More to come… eventually.

Rammbock / Berlin Undead (Germany, 2010)

$
0
0
 
(Spoilers) Rammbock, at little over 60 minutes in length with credits, is a bit too long to be a short film and a bit too short to be a feature film, but in the end it proves just long enough to remain absorbing and offer a double ending that is both depressing and ironic (for one hero of the film) and as happily open-ended as a zombie film can be (for the second main protagonist). Financed in part by German public television, Rammbocknever feels like a television flick and, instead, comes across as a viable entry in the contemporary canon of fast "zombies". Here, as in 28 Days Later (2002 / trailer), 28 Weeks Later (2007) and many films since then, the zombies are less undead gut/brain eaters than crazed and blood-thirsty infected. In this sense, the Berlin Undead title added for the movie's international (or English-speaking countries) release is incorrect; Berlin Biohazard or Berlin Infected would probably be more appropriate, if less commercial.
While not exactly ignoring the "undead" hoards and chomp-chomp deaths expected of a zombie movie, Rammbock has higher aims than just offering a bloody bodycount and the living vs. "undead". The interest of the filmmakers lies far more in the human side of the story of a variety of people, but primarily the two leads, Michael (Michael Fuith) and Harper (Theo Trebs), suddenly caught in a claustrophobic setting as the world collapses. (The people are for the most part caught in a typical Berlin Hinterhof— tenement back courtyard — while Michael and Harper are stuck in a Hinterhofflat.) And while the small cast of people do different things at different times in response to the danger confronting them, not one becomes the efficient (and in the end unbelievable) zombie-killing machines so common of too many contemporary zombie movies. In this sense, Rammbock— despite being populated with amped-up, fleet-footed zombies — is more closely related to the original Night of the Living Dead(1968 / trailer) than, say, the average Asylum zombie flick or certain currently popular television series. The people populating this flick are normal Joes and Janes, not wannabe, pistol-packing, acrobatic deadshots or secret samurais. And in an almost stereotypical manner, considering Germany's waning reputation as a technology leader, the solutions they come upon are based on technology, both primitive (battering ram) and modern (flashing luminaries).
Like Night of the Living Dead, Rammbock starts in a still-sane world before, with no warning, the shit hits the fan. True, there are a scream or two in the distance, but that isn't really all that strange for either the big hipster party place Berlin has become or the rundown, heavy-drinking, working class city it used to be. Michael isn't even from Berlin, but has traveled up from Austria to visit Gabi (Anka Graczyk), his ex-girlfriend, on the excuse of returning her keys but actually in the hope of talking her out of leaving him. But she isn't there; instead, there is a plumber (Arno Kölker) and his young apprentice Harper — and then the plumber flips out and attacks. More by luck than anything else, Harper and Michael manage to lock the plumber out on the stairwell landing and themselves in Gabi's flat….
At this point, Rammbock plays an obvious homage to Rear Window (1954 / trailer), with Harper and Michael witnessing different developments unfold in the courtyard and apartments across the way. The pace in which things go south at the start of the film is easily believable due to the speed and brutality of the infected. And the infected themselves are likewise as unsettling as believable. Ashen-faced, occasionally foaming at the mouth, and milky-eyed, they wobble in place or stumble slowly about until any given noise sends them into a bloodthirsty, rampaging rage.
No phone, no food, and — as the television goes from news reports to the emergency broadcast system, and the radio broadcasts become little more than a looped tape no hope. Trapped in a situation as bleak as late-fall Berlin is grey and dank, remaining "safe inside" means death by hunger. And as Murphy's Law in omnipotent, any step Michael and Harper take seems only to make their "safe space" smaller and more unsafe. Including the event involving the homemade battering ram — or "Rammbock"— that bestows the film its German title. (An arbitrary title decision, actually: they could have just as well titled the movie "Camera Flash" in reference to the movie's one new tweak in the zombie canon: the grey eyes of the infected are also extremely photosensitive.)
Rammbock manages to keep an eye on its protagonists — who they are as well as how they develop — without totally forgetting the rabid-zombie action. But while there are enough shock moments, the gore is sparse, limited primarily to the initial mass attack. In that sense, the movie proves well that buckets of blood are not the only way to shock or affect the viewer.
Director Marvin Kren, in his (short) feature-film debut, manages to use his claustrophobic setting to its best advantage: the movie never feels visually constrained, even if the constrained situation of the heroes is never forgotten and the sense of confinement and of being trapped is never lost. Kren also gets believable, if not at time truly nuanced, performances from most of his cast. (In an interesting play on acting and filmmaking, at the start of the Rammbock, when the viewer is first introduced to Michael, he is a lousy actor — but then it is revealed his is acting out, as in practicing, what he plans to say to his ex-girlfriend Gabi. As of the point that is revealed, his acting becomes convincingly natural.) And more than once a finely absurd humor raises its blackly effective head, though it is usually done so in passing that the viewer can easily miss it, particularly if one does not understand German.
It is a sign of how well this semi-chamber play of a movie is made that some of the more obvious flaws are so easy to ignore. That the film plays freely with the geography of Berlin (it opens in Chamissokiez, which is nowhere close to either the river Spree or Westhafen harbor, while the final scene is even further away in Schweineode) can hardly be held against it, as fiction does not necessarily require veracity. (See: Lola Rennt aka Run, Lola, Run [1998 / trailer], in which the backgrounds of where Lola runs are taken indiscriminately from all across the city but shown as a continuous, if long, run.) That said, characters do do some stupid things: for example, when one guy across the way goes downstairs to try to close the doors to the courtyard, instead of being as quiet as possible, he and everyone else invariably make as much noise as possible — so guess how that works out. Also, later, after all the zombies have been driven out and the courtyard door locked, the zombie mom mysteriously reappears from an upstairs apartment, a reappearance needed for both the ironic resolution of Michael's story and one of the best throwaway verbal jokes of the movie (listen carefully to what the guy running away from the zombie mom is screaming). And perhaps most glaring: the zombies are revealed to have highly photosensitive eyes, but the heroes tend to do everything after sundown instead of under the daytime sun. (That said, Berlin is justly famous for having a lot of incredibly grey days, particularly during the colder seasons.) The technical aspects for the MacGyver-style escape vehicle also raise some questions…
But again: Rammbock is both so tightly made and affectively effective that kinks like those only come to mind long after the film has ended; the movie-going experience had while watching the film is remains invariably involving, if not gripping.
As is the nature of all zombie-outbreak films, the resolution of Rammbock is — at least for the survivors — more open than resolute. But the little shimmer of hope that is given by the final scene is a welcome relief after everything that precedes it. As is the mood underscored by the wonderful closing music.
Rammbock: low budget, short, well shot, well directed, creepy, affective and effective — and definitely worth a look, unlike so many zombie movies nowadays.

Castle of Blood (Italy, 1964)

$
0
0

"My heart isn't beating. It hasn't beaten for 10 years. 
I'm dead, Alan. Dead."
Elisabeth Blackwood

Aka The Castle of Terror, Coffin of Terror, Tombs of Terror, Tombs of Horror, The Long Night of Terror, Dimensions of Death, Dance of Death, Danse Macabre, Danza Macabraand…. 
 Trailer to
Castle of Blood:
Many, many years ago, as a wee, peach-fuzz lad in Alexandria, VA, we caught a version of this movie late one night on the local Creature Feature hosted by the great Count Gore de Vol (he who also introduced us to the uncut version of Night of the Living Dead[1968 / trailer]). As of today, we now know that the version we caught must have been a version of the color remake, Web of the Spider (1970 / trailer), which, like this movie here, was directed by that master of multiple genre forms, Italian director Antonio Margheriti (19 Sept 1930 – 4 Nov 2002) aka Anthony M. Dawson. Margheriti was inspired to do the remake because he always felt dissatisfied with the original version, entitled Danza Macabra in Italy, but he also later admitted that doing so was a mistake. Whatever.
Castle of Bloodhas long been in the public domain in the US, and probably exists in as many (mostly butchered) versions as it has titles. Our version was a cheap-ass and seemingly cut DVD release —  82-minute running time compared to imdb's listed 87 minutes — from Westlake Entertainment, which, interestingly enough, claims that the movie is based on Edgar Allan Poe's Night of the Living Dead. In the credit sequence of the movie itself, however, it is claimed that the movie is based on Edgar Allan Poe's Dance Macabre. In turn, the credits of the 1970 color remake Web of the Spider claim the tale to be based on Poe's story Night of the Living Dead. In real life, however, Poe never wrote a tale entitled either Dance Macabre or Night of the Living Dead, nor is this film based on anything he ever wrote. Poe's name, in all likelihood, was used only for the commercial drawing power it had gained by all the Roger Corman Poe films. (See, for example, Corman's The Masque of the Red Death[1964].) And what does that prove?
Well, it is all yet more proof that the Rothschilds, together with the Illuminati, the Masons and the Knights Templar, were the secret financers of Lenin and Adolf Hitler and also planned and financed the Russian Revolution, WWI, and the subsequent rise and activities of the National Socialists so that the gold standard would be dropped and the American Democrats could open pizza parlors as fronts for a child-sex ring and thus distract the general public from the irrefutable fact that the world is flat. (You're blind if you don't see the direct links. In fact, to hide the fact that the moon landing never happened, they had JFK assassinated because he planned to reveal the truth and reintroduce the gold standard. Take that goddamned red pill, why don't you?)
The DVD release we watched — bought 2nd hand, natch — had crappy sound, was bleached and scratchy, and was shrunk to fit the screen. In turn, however, the image appeared to be un-cropped at any side and, although there were obvious cuts in the movie, the "lesbian scene" was seemingly there as was a discreet and quick semi-nude scene (and we're not talking about the breathing, topless skeletal corpse that is seen in one scene — that corpse was very much that of a muscualr, shirtless and dead male).
Seen on a small screen, Castle of Blood screamed the need for a large screen — and, at the same time, wailed the fact that even if the screen were large, the bleached and scratchy B&W photography of the movie probably was not as masterfully used as in the unarguably superior Barbra Steele film, Mario Bava's almost expressionistic Black Sunday (1960 / trailer). Which is not to say, however, that Margheriti's Italian gothic horror lacks mood and atmosphere; just not quite as much, and what there is was greatly hampered by the quality of the print we watched.
Castle of Blood is entertaining in its own way, but for all its B&W cinematography, great sets, relatively bloodless violence, racy sexuality, and horror elements, it was and is a flawed movie that most adults of today will probably find far less satisfying or entertaining than, say, a wee, peach-fuzz lad (or training-bra lass).
But then, the pubescent might also be less than impressed: while, in the days prior to the Internet and Smartphone, the movie would have been a great introductory flick for kids to Italo Gothic horror, nowadays, inured on a diet of instantly available WWW distractions, even the supposed young and tender might also find this movie slow. Indeed, it is entirely possible that even fans of old movies — as we are — might likewise find the 82-minute running time a noticeably slow 82 minutes. And that is due to more than just the quality of the print: Castle of Blood's somewhat loopy script is blemished by one too many long dry spell, an inconceivably quick and underdeveloped love story, and a lead character with the seeming intelligence of a brick.
The basic plot of the version we saw* sees Alan Foster (Georges Riviere of The Virgin of Nuremberg [1963 / trailer]), an erudite and impoverished and exceedingly practically-minded writer of The London Times in desire of an interview with the touring American author Edgar Allan Poe (Silvano Tranquilli [23 Aug 1925 – 10 May 1997] of The Horrible Dr. Hichcock[1962 / Italo trailer], Smile Before Death [1972 / music], The Legend of Blood Castle [1973 / trailer] and so much more), ends up entering a 10-pound-sterling wager with Lord Thomas Blackwood (Umberto Raho [4 June  1922 – 9 Jan 2016] of The Long Hair of Death [1964 / trailer], The Last Man on Earth[1964 ], The Night Evelyn Came Out of the Grave [1971 / trailer, Satanik [1968 / trailer] and so much more) to spend the night at his haunted castle. Once alone in the castle and following a few spooky incidents, Foster is surprised to learn that the decrepit and dirty manor is seemingly inhabited after all, and not just by Lord Thomas Blackwood's beautiful sister Elisabeth (the exquisite Barbara Steele, seen below from one of Quentin Tarantino's favorite websites, Wikifeet)…
*It should perhaps be noted that these basic narrative elements change in the given version of the film you watch. Cf.: All Movie, which says: "Alan Foster (Georges Riviere), an American tourist visiting England, takes a bet from a Lord Blackwood and his guest, Edgar Allan Poe, to spend the night in a haunted mansion. […]"
As mentioned before, Alan Foster, the main hero, is pretty much an idiot. He enters the castle that he knows to be deserted, is confronted by a variety of minor supernatural events — a clock that ticks and chimes and then doesn't, a dance party in the next room that disappears, etc. — but doesn't bat an eye when suddenly the house is populated not only by Elisabeth, but the coldly beautiful Julia (Margaret Robsahm* of The Young Racers[1963 / trailer], with William Campbell) and, soon thereafter, a long-missing scholar, Dr. Carmus (Arturo Dominici [2 Jan 1918 – 7 Sept. 1992] of Hercules [1957 / trailer], Caltiki, The Immortal Monster[1959 / trailer] and more).
*From Wikipedia (Date: 08.15.2018): "Margarete Robsahm (born 9 October 1942) is a Norwegian model, actress and director. […] To an international audience, she is best known for her role in Castle of Blood […], but she has also starred in Norwegian movies, among these Line [The Passionate Couple] from 1961 (full movie). The movie was based on a novel by Axel Jensen [12 Feb 1932 – 13 Feb 2003] and caused a minor scandal in Norway at the time, as Robsahm was the first actress ever to expose her breasts in a Norwegian movie. In March 2008, Robsahm came in the media's spotlight for having received NOK 2.3 million over sixteen years in government funding for the arts, without having produced a single movie. Though no criticism was levelled at Robsahm, questions were raised about the government stipendiary system."
Worse, even after Foster realizes Elisabeth has no heartbeat, and she says she is dead, and he sees a dead man disappear into thin air, he still continues to deny the existence of ghosts instead of saving his skin by hightailing for them-thar' hills, 10 pounds sterling be damned.
Indeed, his continual denial of the obvious truth throughout the film transcends believability — unless, of course, you keep something in mind like the number of people who actually think Trump is a good president, and then his inconceivable idiocy achieves a level of veracity and is easier to swallow. Still, it does take some difficulty to accept how Foster, time and again, simply denies the obvious: that the ghostly — if extremely tangible — reenactments transpiring before him of the past deaths in the castle are indeed ghostly.
Then lets talks about the love angle, which is integral to the entire resolution of the movie. Foster has a mouth of honey, one which drips compliments and smoothly pleasing phrases as quickly as a Republican approves tax cuts for the rich or is willing to accept a fellow Republican's denial of past sexual transgression. Indeed, he verbally oils Julia as much and quickly as he does Elizabeth, which severely undermines the believability of the concept of him falling head over heels in love with Elisabeth in a matter of minutes. And while the love between the two, which is integral to the narrative, proves sincere, the flashback to the events leading to Elisabeth's death* reveals her to be a capricious, sexually active woman of little common sense who above all simply wants her fickle whims and short-term desires satisfied. (Hmm — sounds like almost everyone we know.) Thus, one is initially tempted to view Foster as little more than yet another plaything for her — it is only towards the end, when she tries desperately to save him, that her professed love finally achieves total sincerity.
*Here, the version we saw was obviously cut: while all those around her die, the scene abruptly cuts away as a crazed, screaming Elisabeth pulls at her hair. How she actually dies is not shown.
Speaking of the ghostly (if extremely tangible) reenactment of Elisabeth's demise, it does reflect a doozy of a sex crime: not only does Elisabeth's hunky and possessive lover Herbert (Giovanni Cianfriglia*) kill her husband William (Benito Stefanelli [2 Sept 1928 – 18 Dec 1999] of A Fistful of Dollars [1964], Transformations [1988 / love theme] and so much more) and then try to rape her, but after Julia saves Elisabeth by killing Herbert, Julia promptly goes all aggressively scissor sister on her. (In the world of this movie, murdering men seems to turn lesbians on.) Unluckily for Julia, Elisabeth is less than turned on and a knife lies close by….
* The hunky and handsomeGiovanni Cianfriglia — see image below, from the great blogspot Pleplum— who had begun his film career six years earlier as the body double for the delicious Steve Reeves (21 Jan 1926 – 1 May 2000) in Hercules (trailer), was still in full, hot muscular prime when he played this movie's kill-happy bad guy. Indeed, the combined hotness of he and Steele and Robsahm and the soon-to-be-mentioned Sylvia Sorrente, are the stuff that fantasy orgies are made of…. Hand us that box of Kleenex, please.
The twist to the ghosts that inhabit this movie is that they are, in a way, dead-alive. They only appear once a year, on All Hallows' Eve, and to survive another year until their next appearance, the vampiric ghosts require the blood of the living, which is why Lord Thomas Blackwood sends a poor sucker to the castle every year. It would seem, however, that the urge to drink blood only truly arises as the night draws to a close, for throughout much of the movie the ghosts either leave Foster completely alone (as do William, the newlyweds Elsi [the pulchritudinous Sylvia Sorrente, below] and her husband and, for the most part, Herbert); are friendly and informative, like Dr. Carmus; or initially actively suggest Foster should leave, as does Julia. But as the night ends, and their ghostly mortality increases, so does their bloodlust — perhaps beyond their control. But for Elisabeth, whose love conquers all…. except for the threshold to the world outside.
In that sense, as Dr. Carmus flatly states at one point, and as in underscored by the way Lord Thomas Blackwood unflinchingly and coldly collects the debt due at the end of the movie, Lord Thomas Blackwood is perhaps the most cold-hearted and evil entity found in Castle of Blood. Even the murderous Herman — while alive, at least — was driven more by passion and a lack of control than evilness, and the ghosts themselves merely want to survive another year and only truly give in to their bloodlust as the night draws to a close. Blackwood, on the other hand, sends a new sacrificial victim to the castle once a year, and not even because he is forced to or has to, but simply because he can.
Somewhere along the way in Castle of Blood, it is even revealed that the ghosts, who cannot leave the castle, need blood to survive another year, and that without it they would be no more. Were Blackwood not evil, he would merely make sure that no one goes to the house one All Hallows' Eve — two, if he really wants to play it safe — and then the ghosts would be gone. One need not be a capitalist to see that, financially, the return from the rent or sale of the castle would surely bring more money than an annual wager — ergo: Blackwood does his annual wager for the hell of it, making him the real amoral killer of the movie.
OK, so after all that is written above, one might assume that we don't find Castle of Blood a good movie. That, however, is wrong. We think it a great film, a fantastic film, and will surely watch it again someday (though hopefully a better transfer). It is, however, a flawed film and age has not been all that kind to it, and in today's Smartphone-driven world in which western society has the patience and attention span the size of a flea, it is not a movie that will appeal to many.
Castle of Blood is, perhaps, comparable to some of the more subdued baubles in your grandmother's jewelry box: it is a real jewel, a beautiful jewel, but it looks and feels of another age. If you are one who can appreciate such beauty, then you will surely find this movie worth watching. If, on the other hand, you need the speed and superficiality of today's perfected flashiness, you won't be able to appreciate the beauty that this B-film offers.
The Castle of Blood
full movie:
 

Short Film: The Haunted House (France, 1908)

$
0
0
This month's short film is the oldest one we have ever presented here at a wasted life— it beats November 2015's The Mystery of the Leaping Fish(USA,1916) by 8 years and February 2016's Un Chien Andalou(France, 1929) by 21. We would be lying if we didn't say that The Haunted House looks its age but, that said, we still find this super-early haunted house comedy as an amazing piece of film history, one that can and should be appreciated as an early visual and special effects treat. With perhaps a few too many pratfalls, but those were simplier days...

Though he has slowly gained enough recognition to at least be given a commemorative postal stamp (way above) in his homeland of Spain, the Spanish film pioneer Segundo Víctor Aurelio Chomón y Ruiz, aka Segundo de Chomón (18 Oct 1871 – 2 May 1929), remains unjustly forgotten elsewhere, if not in general. A former concessionary for Pathé in Barcelona, de Chomón entered filmmaking after moving to Paris with his wife, the even more-forgotten French silent film actress Julienne Mathieu (21 Dec 1987 – 1 Dec 1943), whom he eventually featured in at least 31 of his magical shorts — including The Electric Hotel, also from 1908, whence the GIF below comes. We don't think she's the female, however, found in The Haunted House. (Trivia: The Electric Hotel is also the only film director Segundo de Chomón himself is known to have acted in — in the movie, the man alongside his wife is he.)

 

De Chomón is arguably one of the first truly great visual tricksters of film: "With his innovative use of early splice-based tricks and a penchant for optical illusions he is often compared to the slightly earlier Georges Méliès (8 Dec 1861 – 21 Jan 1938), and indeed has been dubbed 'The Spanish Méliès' by some. Though the similarities are clear, Chomón departs from Méliès in his variety of subjects and his use of animation, an art form he played a key role in developing." [Public Domain Review]

De Chomón's output was primarily short films, but as a cinematographer and/or tricks director he worked on an occasional feature movie, including Giovanni Pastrone's epic Cabiria (1914 / full movie), the film in which the popular character Macistemakes his cinematic debut, and Abel Gance's Napoleon (1927 / trailer).

James Stuart Blackton (5 Jan 1875 – 13 Aug 1941) possibly invented stop motion, a technique he used as early as 1906 in his short Humorous Phases of Funny Faces (1906 / short). But as Animacampoints out, "It was Segundo de Chomón who perfected this technique, taking it to lands already very similar to those of today."

Interestingly enough, Blackton released a short called The Haunted Hotel in 1907 (full short), a film that bears so many resemblances to The Haunted House that it could start an argument about the differences between paying homage, borrowing, and cribbing. Regardless of where one stands on this argument, The Haunted House, like so many of de Chomón's short films, nevertheless reveals great visual talent, innovative (if now primitive) use of technology, and an exploratory nature — not to mention a truly amazing, surreal imagination.

Enjoy… and then check out his other shorts: those that still exist are public domain.
Viewing all 700 articles
Browse latest View live