Review from DVDTalk:
My first introduction to the oddball cinema of Spanish filmmaker Jesus ‘Jess’ Franco came one night about 3am while channel surfing in my parent’s basement. I’d just gotten back from college, it was time for the summer break, and I’d only minutes beforehand returned from an evening at the pub. I came across what appeared to be a pair of lesbian vampires doing their thing set to a be-bopping score and some whacked out colors and it instantly caught my attention. I didn’t really know what I was watching and didn’t find out until the film was finished that it was one of Franco’s most popular films, Vampyros Lesbos. That semi-intoxicated late night initiation led me to seek out more of the man’s work, and since that night over ten years ago I’ve become a casual fan of his wildly uneven catalogue of work. His films may not always be good in the traditional sense of the word, but they’re always interesting and there’s always a little piece of himself put into his work. Continue reading
“Red Lips” are two female detectives trying to find missing models and dancers. A pop artist called Klaus Thriller and his werewolf-like assistant, Morpho, are the main suspects for the murderers.
‘Sadisterotica’ (fantastic title!) isn’t really your typical Jess Franco movie. Released in the same year as his classic ‘Succubus’, it doesn’t consist of his usual blend of eroticism and horror, it is instead a campy detective comedy/thriller in the vein of ‘Modesty Blaise’ or Mario Bava’s ‘Diabolik’. Fans of Matt Helm and Austin Powers will dig it. Continue reading
In Istanbul, a jazz trumpeter pulls the murdered body of a young woman from the surf. He remembers her from the night before, when he saw her at a millionaire playboy’s party and then later watched as she was assaulted by the party’s host and two of his friends. In confusion, Jimmy, the musician, leaves for Rio where he finds the sympathetic ear of Rita, a singer who invites him to live with her and helps him recover his equilibrium and his musical ability. Then, into the room walks a woman who looks like Wanda, the murder victim. Jimmy pursues her, not caring if she’s alive or dead. What’s going on? Continue reading
This title has been extremely rare worldwide and is one of the most highly sought movies!
After a woman has been found by the police she desperately tells her story of being kidnapped, drugged and tortured by Princess Arminda (Lina Romay). For years the police have been trying to shut down Arminda’s sex palace called The Pagoda, but have been unable to get close enough due to her having friends in high places. Now they have found the woman who will help put Arminda away for years.
Another rare Jess Franco’s title on dvd presented in its Uncut Anamorphic Widescreen Version with English subtitles, you cannot go wrong with this rare title!
Pamela Stanford has a habit of going to bars, picking up men, taking them home & having them fuck her sister Karine Gambier, who she keeps chained & locked up in a cage. On the next day, the men invariably wake up in their cars, not knowing if the whole thing was real at all, & Gambier is told by her sister it didn’t happen at all. Continue reading
All of us Jess Franco fans know that he was a musician before being a filmmaker, yet we don’t know much about his musical tastes. Jazz apart, what musical genre or what composers does he prefer?
The choice of using Franz Liszt’s scores in some of his films could give us our first answer. Many Franco fans will remember the trumpet solo in the night-club where Miss Death performs her shows (MISS MUERTE, 1965): it’s a transcription from Franz Liszt’s Dream of Love No.3 in A Flat Major (as a matter of fact a nocturne), one of those piano “Love Melodies”, once very popular, that all good-family ladies and girls liked to play in their houses. Franco has used this sentimental melody numerous times, in the most disparate transcriptions. It will be just the Dream of Love No.3, strummed by Lina Romay on a small piano, which will magically open a strong-box full of gold bars in the last scene of LA NOCHE DE LOS SEXOS ABIERTOS (1981). Continue reading
What you first need to understand before watching Jess Franco’s Paula-Paula is that it’s not a normal movie. There’s not script, there’s a beginning and ending, but something else in between. It’s actually what the title say it is, an audiovisual experience that could belong in an art gallery. I’ve seen stuff like this at the Museum of Modern Art in Stockholm, but this might be a little bit more sleazy…
It begins with the arrest of a young woman, Paula, who claims she’s been working at a sex club since she was five, first with her dad, and later together with another woman named Paula – and now she killed her. The police, played by a butch Lina Romay, is skeptical about it, and seem to almost let her go. No one cares about her, another crazy woman… There’s a cut to the interaction between Paula and Paula, in something that seem to be the first Paula’s apartment. They dance, there’s long psychedelic mirror-effects, slow-motion and an amazing jazz score by Friedrich Gulda (given to Franco by the children of Gulda, the composer himself is dead) and slowly it leads to the expected ending… Continue reading
Plot / Synopsis
Linda Vargas picks up Ortiz in a bar where she works in a lesbian show with Maria Toledano. She seduces him, phones the police and kills herself. Ortiz is held on suspicion of her murder. Ortiz’s wife, Rosa, visits a friend of Linda’s, the Countess Anna de Monterey who tells her how Linda went into a spiral of sex and drugs after being assaulted by Ortiz as a young girl at a fair-ground. Linda became the Countess’s lover, then had a disastrous love affair with Alberto, the Countess’ boyfriend. Rosa also meets Maria, who holds Linda’s diary, where she relates how a fake Doctor turned her away from drugs and into a nymphomaniac. Written by Artemis-9 Continue reading