Candy tells the story of her life, her dissatisfaction with her male lovers, her desire for her girlfriend Katy and the route that led her into stripping. This is 80 minutes of flesh, bordering on the hardcore, sometimes on the gynaecological, and supposedly directed by Lina Romay (Candy Coster). Her husband Jess Franco was probably on hand somewhere. Romay in 1982 is not the trim young sexpot she was in the early 70s but she loves to get stuck in and there are still moments of genuine eroticism. It’s a shame a ridiculous blond-white wig often offsets her cute, slightly buck-toothed face. This was remade by Franco in 1986 as El Mirón y la Exhibicionista as a hardcore feature. Read More »
Tag Archives: Jesus Franco
VAMPIRE JUNCTION, for example, takes an inexplicable mix of characters (cowboys, doctors, acrobatic nudist vampires, a Dracula-wannabee, drunks, etc.) and tosses them all into a tourist trap of an old West ghost town and allows them all to shake up against one another for 90 minutes or so. Who knows what happens or why? Seeing nubile naked vampettes walking backwards on all fours like spiders while chubby old sheriffs are taking pot shots at old Scratch as we listen to the town drunk warbling nonsense while sitting on a hobby horse isn’t supposed to make sense to anyone but Jesus Franco. Naturally, Lina Romay, with her prime deep in her rear-view mirror, wanders through the proceedings trying to solve whatever mystery the director has foisted on the story.
And it’s as though Franco is daring you to try to understand or even try to enjoy anything he puts in front of you. Read More »
the IMDB wrote:
Eugenie, a beautiful but shy young girl, lives with her stepfather, a famous writer specializing in stories of erotica. One day she happens to read one of his “erotic” books and its power so affects her that begins to find herself sexually attracted to her stepfather. He notices this, and eventually brings her into his dark world of sexual perversion and murder. Read More »
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… Read More »