Robert Monell wrote:
Of the eight other films Franco made in 1985 (half of them hardcore porno features), this very low budget adventure stands out because of an absorbing, multi-layered script by ace Spanish screenwriter Santiago Moncada. Beside writing Mario Bava’s HATCHET FOR THE HONEYMOON, Claudio Guerin Hill’s THE BELL FROM HELL and Juan Antonio Bardem’s THE CORRUPTION OF CHRIS MILLER, Moncada has written and produced screenplays for a variety of European genre directors. Manuel Cano’s SWAMP OF THE RAVENS, TARZAN’S GREATEST CHALLENGE and VOODOO BLACK EXORCIST were all based on Moncada screenplays, not to mention the ultra-violent Spanish western CUTTHROATS NINE. This film was co-produced by Moncada and Franco’s Manacoa company.
As for Jess Franco, 1985 wasn’t his best year, but it was a busy one, offering a variate of micro-budgeted genre projects. In LA ESCLAVA BLANCA, Moncada gives us three separate stories that gradually interweave and come together in the final scene. The first story seems to have elements of MACBETH and B movie programmers. A weak-willed jungle guide is manipulated by his domineering wife into committing a series of crimes. During a safari, he leads a honeymoon couple (José Llamas and Conchi Montés) into a trap laid by the Tobonga, a Stone Age tribe that worships a giant lizard god. The bride is tied to a sacrificial altar for later sacrifice. The second story starts out in the city, where a female karate student (Lina Romay and two of her instructors accidentally discover the secret of the Tobonga. In the third story, two separate expeditions make their way back to the Tobonga camp. One of these groups includes the original guide, who has been abducted by the karate instructors (they have also killed his wife). The other consists of the husband of the abducted woman and the female karate student (Lina Romay) who has split off from the school. During the long trip back, the guide has a change of heart and decides to repent, turning against his captors and helping the people he originally betrayed.
The climax of the film, shot and edited with dispatch despite the budgetary restrictions, may remind some viewers of a miniature version of the final scene in THE WILD BUNCH. The very last scene, in which the Tobonga gold is abandoned by the survivors, echoes THE TREASURE OF SIERRA MADRE. Franco’s film, of course, is a lot less ambitious than those two classics, but maybe that’s why it works so well. The massacre at the Tobonga camp, the abduction scene, and the opening safari are as well-staged as anything Franco has ever done. There’s also an amusing dose of voodoo dancing thrown in for good measure. He takes it all seriously, even though it’s bascially juvenile comic-strip pulp. But, then again, Jess Franco had a life long passion for comics and pulp fiction.
Daniel White’s pulsating drum and vocal score is familiar from some of Franco’s other jungle adventures (MACUMBA SEXUAL, DEVIL HUNTER), but this is by the most unpretentious of the lot. Jose Miguel Marfa and Mabel Escaño are both very effective as the safari guides from hell. With its karate scenes, voodoo rituals, adventure story, literary and film references, LA ESCLAVA BLANCA seems like a kind of compendium of Franco’s 1980’s output (minus the XXX sex material). I
If one can get past his other sub-standard jungle/cannibal fare, this one is most definitely provides 90 minutes of undemanding entertainment. I would be pleasantly surpised if this fogotten mid 1980s programmer showed up on a Bllu-ray release, but stranger things have happened. I had some behind the scenes photos of the shoot supplied by Senor Marfa but haven’t yet been able to transfer them here. The Spanish locations will be very familiar to serious Jess Franco collectors..
746MB | 1h 25m | 528×368 | avi