ECCO/ THE FORBIDDEN -- Blu-ray Review by Porfle

 

Originally posted on 1/31/19

ECCO (1963)


It may not have the word "Mondo" in the title, but ECCO, aka "Il mondo di notte numero 3" (Severin Films, 1963), is an offshoot of the infamous, wildly successful shock-u-mentary "Mondo Cane" just as sure as its goal is to shock, titillate, and even disgust everyone who shells out the price of a ticket to see it.

"Ecco" is an Italian word meaning "look here", and as soon as American producer Bob Cresse (MONDO FREUDO, MONDO BIZARRO) took a look at this Italian production, he knew he had to purchase the rights and release an Americanized version of it himself.  Which, one assumes, cleaned up at the box office.

He hired venerable actor George Sanders to intone the pithy narration, keeping the excellent musical soundtrack which includes both rock'n'roll and crooner-type ballads in addition to some stirring orchestral music like something out of a spaghetti western.

But the real attraction is the non-stop travelogue of exotic, outlandish, and often highly strange sights and sounds from around the world, some filmed as they occurred and others staged for the camera but, unlike many "Mondo" films, based (mostly) on actual events.

Some of this stuff is relatively mundane enough to show up in a TV travelogue, such as a look at Rio de Janiero's famed Mardi Gras celebration and a brief example of rough-and-tumble women's roller derby.

One mountain village in Europe is visited by a family of daredevil circus performers, and elsewhere we see some amazing Grecian monasteries built high atop mountain peaks (as seen in the James Bond film "For Your Eyes Only").  Portuguese fishermen go whaling in nothing but simple rowboats, a dangerous task which, if they survive, will benefit their entire village in many ways.

But before long, the more extreme exploitation aim of this eye-popping cinematic grab bag makes itself known in a variety of ways, beginning with some young German men who get together for a night of drinking and then bloody jousting with swords.

A satanic ritual ends with a naked woman drenched in chicken blood, while Swedish delinquents roam the streets getting into trouble, attacking citizens, and then having wild sex in front of a group of straight-laced oldies.  A visit to what is purported to be the final performance in the famous Grand Guignol theater finds the actors involved in a typically gruesome scene.

In one of the film's most amazing sequences, hundreds of young, half-naked Japanese men form a roiling, squirming, tightly-packed mass of humanity during a weird annual "game" in which at least a dozen of them are expected to be crushed or trampled to death just for funsies.

Sex really comes to the fore (finally!) in the film's latter half--matronly Vegas women drool over oiled, posing muscle men, a popular European stripper has a whole hall of lecherous guys in a state of giddy arousal, and a forbidden all-lesbian club engages in same-sex nudie frolics for the camera's benefit.

But just as I was beginning to write off ECCO as a fairly standard "Mondo" flick, then came a guy named Ivan--one of those "mind over body" zealots--who started driving long, sharp needles through his skinny body in a segment that may be staged but definitely isn't faked.

"Cringe" doesn't go far enough to describe watching this guy slowly penetrate his neck with a needle while describing how he's studiously avoiding the carotid artery, the jugular vein, and, of course, the esophagus.  Eventually we witness the needle's point emerge from the other side, whereupon he invites a member of the audience to pull it out. Yikes.

I figured they couldn't top this, but the next segment goes right into a reindeer roundup in Lapland where an amazing wave of thousands of reindeer swarm tsunami-like into an enclosed area where they scuttle around in a huge circle while the natives lasso them.

Some are slaughtered, while others are castrated to become steers.  How is this done? Why, the ladies do the honors with their teeth, of course.  And thus, my mind is blown.

Other things happen which I can't recall at the moment, all very beautifully narrated by silken-toned George Sanders (who even throws in a little Shakespeare), but this should suffice to give an overview of ECCO'S mindbending menu.  I expected the usual weird sex practices and bizarre rituals, but some of this stuff really had me in full "SMH" mode and then left me benumbed, bewildered, and thoroughly be-cringed.


THE FORBIDDEN (1966)


Having roughly the form of a "Mondo" but with much less of a travelogue element and much more unmitigated sleaze, Bob Cresse & Lee Frost's THE FORBIDDEN (1966) is composed almost exclusively of softcore sex stuff--mostly strippers pretending to be performing in Paris or London but mainly in dark little soundstages with drapes over the walls to simulate nightclubs. It's probably the same set every time, just redressed a bit.

The film does veer occasionally into actual documentary territory as when we're shown genuine footage of a riot that occurred in Los Angeles when hundreds of teenagers refused to obey a ten o'clock curfew and clashed with the police, causing much chaos and property damage.

There's also a couple of detours into lurid fiction via re-enactments of "true" cases, one involving a woman's lethal jealousy toward her ex-husband and his lovers (this one ends DEATH PROOF-style) and another telling of a lonely woman's very unconventional method of getting the man she loves to come and visit her in Paris from his home in Mexico.

Mostly, however, we're treated to the kind of nudie-cutie segments that one often saw in 8mm film loops in the 60s, given hokey wraparound stories.  One stripper is supposedly performing in East Berlin and pretending to be Hitler's girlfriend.  Another, the gorgeous "Baby Bubbles" from Frost & Cresse's MONDO BIZARRO, plays a woman who teaches timid housewives how to strip for their husbands. 

We get a good idea of what we're in for with the opening segment showing two women in varying states of undress while a creepy peeper peers at them through their window.  He breaks in and attacks, during which we find that this is supposedly a commerical commissioned by the female owner of a karate school for women wanting to learn self-defense.

A secret initiation of two girls into a lesbian club is an excuse for us to--you guessed it--watch some naked lesbians for awhile.  There's also a scene with a prostitute who drugs and rapes her female clients before robbing them. And with that, your evening's entertainment is pretty well rounded except for just one more stripper (and some fervid, near-incomprehensible narration) to send THE FORBIDDEN off in sleazy style. 


Buy it from Severin Films

Special Features:
The Bandit: Producer David Goldstein Remembers Bob Cresse
I Want More: Short Film
Ecco Trailer
English Subtitles

The Stripper is scanned in 4K from the original internegative
The Forbidden is newly-transferred from the only known 35m print in existence

ECCO/ THE FORBIDDEN -- Blu-ray Review by Porfle

ZOMBIE 4: AFTER DEATH -- Blu-ray Review by Porfle

Originally posted on 5/19/18

 

Hot on the heels of ZOMBIE 3, which he co-directed with Lucio Fulci and Bruno Mattei, comes Italian schlockmeister Claudio Fragasso's ZOMBIE 4: AFTER DEATH (Severin Films, 1989), another hot 'n' horrid terror tale of the living versus the undead on a humid tropical island.

This time we're back to basics again, with the zombies being created not by science gone wrong or some natural phenomenon, but by that old bugaboo--voodoo.  Here, a voodoo high priest raises an undead army against the interlopers (scientists again) whom he blames for the death of his wife.

In the first scene, he resurrects her as a real lulu of a zombie--really, this freaked-out hag sets the bar so high that no other creature in the movie can touch it.

They're still a motley bunch, though. In fact, these ambulatory corpses--who mostly wear hoods to save on makeup--are so sleazy-looking you'd think they'd started out as lepers before turning into zombies. 

As in ZOMBIE 3, they like to gang up on their victims and make very messy work of them as the fake blood gushes from every prosthetic gash.  The makeup and gore effects run hot and cold quality-wise, but it's all in good, dumb fun anyway.

It seems as though we've joined the story in progress when the scientists confront the voodoo priest, but just then all the potential protagonists we just got to know a minute ago start getting horrifically offed one at a time. 

In comes a whole new cast twenty years later, and they go tromping around in the jungle for about half an hour before someone finds the usual "book of the dead", stupidly reads the forbidden spell within, and starts the whole thing going all over again.

Two groups--three research scientists and some vacationing mercenaries and their lady friends--are barely around long enough for us to get to know them before it's "Ten Little Indians" time. 

The survivors of the inital carnage barricade themselves in an abandoned science lab against the advancing horde (this is one of the few Romero-esque touches) with the mercenaries--who have fortuitously stumbled onto a box of M-16s--offering some war-movie action along with the horror as everything heads toward a mindblowing finale.

The real fun comes when members of their own combined group get bitten and start to turn.  With all the flesh-eating, supernatural hoo-doo, and blazing gunfire going on, you may enjoy spotting all the references to THE EVIL DEAD, ALIENS, PREDATOR, and various other movies.  The opening scene at times even reminded me of one of the freakier Japanese ghost story movies.

Production values are pretty sparse, but as usual with these Italian jungle potboilers, whether they feature zombies, cannibals, or whatever, that's just part of the charm.  Claudio Fragasso (TROLL 2) has but two goals here, to entertain us and to gross us out, and with ZOMBIE 4: AFTER DEATH he has done both in splattery style.



Release date: May 29, 2018

Special Features:
Bonus Disc: CD Soundtrack (pictured below)
Run Zombie Run! – Interview With Director Claudio Fragasso and Screenwriter Rossella Drudi
Jeff Stryker in Manila – Interview With Actor Chuck Peyton
Blonde vs Zombies – Interview With Actress Candice Daly
Behind-The-Scenes Footage
Trailer

ZOMBIE 4: AFTER DEATH -- Blu-ray Review by Porfle

ZOMBIE 3 -- Blu-ray Review by Porfle

Originally posted on 5/19/18

 

Gory, lurid, and just plain nuts, Lucio Fulci's ZOMBIE 3 (Severin Films, 1988) sails over the top from the very first scene and just keeps on going. 

It's definitely not part of the George Romero universe.  Created by accident during a lab experiment to reanimate the dead, these zombies are some of the most groteseque, malicious, and aggressively hostile undead fiends to ever come leaping out of the bushes at you.

As expected, the makeup and gore effects are crude--obvious rubber masks and such--but are so wonderfully extreme that they're effective and fun nonetheless.  Lots of bladder effects are used to good advantage in the facial makeups, with plenty of graphic gore and severed limbs to go around.

The action is confined to a tropical resort island that just happens to have a top-secret military base where the disastrous experiment takes place.  After that, the good-guy scientists struggle to come up with an antidote to the highly-contagious zombie virus while the bad-guy military brass decide to just kill off everyone in the infected area, locals and tourists alike.

This includes a bevy of fun girls and their boyfriends in an RV, a young couple tooling around in their convertible, and three rowdy soldiers on leave, looking for a good time. 

Their trouble really starts when all are attacked by swarms of infected, virus-carrying birds, after which the injured must be protected by the others against growing hordes of horrific zombies intent on turning them all into pulled pork.

The rest of the film is a series of lively setpieces as various protagonists endure harrowing undead encounters which several of them won't survive.  Not only that, but they also must contend with military hit squads in hazmat suits who are machine-gunning anything that moves (which is where our three vacationing soldiers come in handy).

Direction and camerawork are pretty artless as usual, which is part of the film's charm.  ZOMBIE 3 was begun by Italian schlockmeister Lucio Fulci (ZOMBIE, DOOR INTO SILENCE, THE DEVIL'S HONEY) but actually completed by fellow filmmakers Bruno Mattei (ZOMBIES: THE BEGINNING, ISLAND OF THE LIVING DEAD, THE JAIL: THE WOMEN'S HELL, VIOLENCE IN A WOMEN'S PRISON) and Claudio Fragasso (ZOMBIE 4, TROLL 2).

As a result, ZOMBIE 3 is a frenetic conglomeration of so-bad-it's-good fun in which the subpar acting and dialogue, goofy characters, and hokey effects only add to its perverse appeal.  It's a non-stop zombie blowout that fans of the genre are sure to enjoy.



Release date: May 28, 2018

SPECIAL FEATURES:
Bonus Disc: CD Soundtrack (pictured below)
The Last Zombies – Interview With Co-Director/Co-Writer Claudio Fragasso and Co-Writer Rossella Drudi
Tough Guys – Interview with Actors/Stuntmen Massimo Vanni and Ottaviano Dell’Acqua
The Problem Solver – Interview with Replacement Director Bruno Mattei
Swimming with Zombies – Interview with Actress Marina Loi
In the Zombie Factory – Interview with FX Artist Franco Di Girolamo
Audio Commentary With Stars Deran Sarafian and Beatrice Ring
Trailer

ZOMBIE 3 -- Blu-ray Review by Porfle

SHINING SEX -- Blu-ray Review by Porfle

  Originally posted on 6/24/20

 


I think it's fair to say that incredibly prolific cult filmmaker Jess Franco wrote and directed SHINING SEX (1977, Severin Films) as an excuse to closely examine the naked body of his lifelong love and artistic muse Lina Romay in what can only be described as loving detail.

Hence, the narrative consists of roughly 10% story and 90% naked Lina Romay, which is great if (a) you're really, really into Lina Romay, and (b) you enjoy just sitting back and watching compulsive film addict Franco getting his celluloid fix by thinking up different reasons to aim a camera at things.

Those things in this case would be parts of Lina Romay's body, which we get to know almost as intimately as her ob/gyn.  In fact, this film goes a long way toward making up for the fact that I never had sex education classes in school.  It's like an anatomical textbook in motion.

Of course, even Franco's simplest films usually have some kind of plot, and in this case it's the story of wildly popular nightclub dancer Cynthia (Romay), whose act consists of wearing next to nothing and rolling around on the floor in front of patrons like a kitty cat in heat, being taken to the luxurious home of an interested but strangely aloof couple.

Playfully seductive Cynthia strips off upon arrival and gets the woman, Alpha (Evelyne Scott), into bed for some girl-girl action while the man, Andros (Raymond Hardy) is supposedly off "putting the car away."

But whereas this is usually a prelude to naughty fun, we can see (even if Cynthia can't) that there's something very not right about Alpha's disaffected, almost robotic behavior.

Even her growing sexual arousal in response to Cynthia's efforts to engage her has an ominous feel to it, as the accompanying music itself sounds like something out of a Herk Harvey movie.

How much should I reveal about the rest of the plot? I like to watch movies like this without much foreknowledge, and in this case the mystery just made it that much more enjoyable. Suffice it to say that Franco takes a big left turn into sci-fi territory with elements of the mystical and the metaphysical.

All that, of course, is in service to the abundance of prolonged sex scenes, which get about as close to hardcore as I've seen in a Jess Franco movie. I'll even wager that this one would need extensive cuts to have been shown on Cinemax or the Playboy Channel back in the day.

Evelyne Scott (DEVIL'S KISS) is a commanding presence as Alpha. Monica Swinn (BARBED WIRE DOLLS) appears about halfway through as mystic Madame Pécame, who becomes involved in the paranormal goings-on along with Franco himself as Dr. Seward, head of a private psychiatric hospital. Also appearing are Olivier Mathot (THE SADIST OF NOTRE DAME) and Elmos Kallman.

The 2-disc Blu-ray from Severin contains a CD of music from this and other Franco films. The uncensored print has been scanned from the original negative. Soundtrack is English 2.0 mono with English subtitles. A slipcover features different artwork than the box itself.

Bonus features include "In the Land of Franco, Part 3" with Stephen Thrower, an interview with Thrower entitled "Shining Jess", "Never Met Franco" with filmmaker Gerald Kikoine, "Filmmaker Christopher Gans on France", Commentary with scholars Robert Monell and Rod Barnett, some very explicit outtakes, and a trailer.

While the sci-fi angle gets nuttier (and the sex kinkier) as it goes along, there's always the spectacle of Jess Franco's beloved Lina languishing in the nude and getting ravished by everyone in sight. If you're not a Francophile, this will probably mean very little to you. But for those to whom every aspect of the director's career evokes endless fascination, SHINING SEX will prove evocative indeed.


2-Disc Blu-ray Featuring Limited Edition Slipcover
Limited to 1500 copies

Slipcover art:

SHINING SEX -- Blu-ray Review by Porfle

ANTHROPOPHAGOUS -- Blu-ray Review by Porfle

 Originally posted on 9/24/18

 

Italian goremeister Joe D'Amato does it again with the 1980 proto-slasher/thriller ANTHROPOPHAGOUS (aka "The Savage Island").  Like ABSURD, which he directed the following year, this bundle of blood-soaked chills doesn't pour on the gore non-stop, but when it does, it doesn't fool around.

Tisa Farrow (Mia's sister) stars as Julie, who's traveling to an island off the Italian coast to help care for a vacationing couple's blind daughter Henriette (Margaret Donnelly) in their opulent villa. 

She hitches a boat ride with a group of twenty-somethings out for some island-hopping fun themselves, but once they stop over at Julie's island to drop her off, things start going wrong.  And I mean really, really, gore-splatter-cannibalism wrong. 

It's strangely prescient of the 80s cliché of the group of young partiers cavorting off to some isolated location to be stalked and slashed by a psycho killer.  (A cliché that's still going strong today.)

Here, however, the premise hasn't yet become a tired trope, and the characters are mature enough so that their interactions, and later misfortunes, have a dramatic heft that makes them more than just subjects for fun gore effects.

D'Amato (BEYOND DARKNESS, EMANUELLE AND THE LAST CANNIBALS, THE ALCOVE) takes his time establishing all of this and letting us get to know such characters as the nervously expectant Maggie and her equally nervous husband, amorous Daniel who takes a liking to Julie right away, and brother-and-sister Andy and Carol, the former a level-headed good-guy type and the latter, a Tarot-reading flake whose unpredictable actions will eventually make a bad situation worse.

The bad situation in question, which they discover upon setting foot on the island, is an empty village in which (as we already know but they don't) the local population has been wiped out by a mysterious killer whose handiwork we saw in an earlier scene of a young couple getting meat-cleavered on the beach.

Taking up temporary residence in the villa of Julie's missing friends, the group makes a shocking discovery in the wine cellar that gets our own blood going as the story continues to build at a leisurely pace. 

More unrest within the social unit leads to creepy scenes within the big, dark house and its environs, including a crypt and a spooky foray into the shadow-strewn streets of the deserted village.  And before we know it, there's a sudden, cannibalistic attack that leaves one of them dead. 

To make a long story short, the character described in the title (if you can figure out what that title means, that is) finally makes himself known and proves a terrifying, stomach-churning force of un-nature with a voracious appetite for human flesh and one of the ugliest mugs in monster-guy history. 

Played by co-writer Luigi Montefiori (as "George Eastman"), who would portray a much less hideous killer in ABSURD a year later, the "Anthropophagous" dude is like something straight out of a nightmare, one of the most repellant stalkers ever to stalk. 

Blood 'n' guts sequences are few, but striking--the fetus scene alone is the stuff theater walkouts are made of. And D'Amato shows some style in unfolding the "dark, scary house", "deserted village", and "burial catacombs" scenes as well, giving us some genuine chills between the gouts of gore.  

The Blu-ray from Severin Films features a really nice-looking 2K scan from the original 16mm negative.  The film can be viewed either in Italian with subtitles or in English.

Severin doesn't disappoint with its usual ample menu of bonuses, here offering interviews with writer-star Luigi Montefiori, actor Saverio Vallone ("Andy"), FX artist Pietro Tenoglio, editor Bruno Micheli, and actress Zora Kerova ("Carol"). Three trailers for the film are also included.  The cover art is reversible.

ANTHROPOPHAGOUS has a simple, uncluttered plot that sets out to scare, startle, and sicken us, and it does exactly that with a singleminded determination.  It also boasts one of the ickiest cannibalistic creeps I've ever seen, whose final horrific act sets a standard of "WTF?" of which goggle-eyed gorehounds may never see the equal.


Special Features:
Don’t Fear The Man-Eater: Interview with Writer/Star Luigi Montefiori a.k.a. George Eastman
The Man Who Killed The Anthropophagus: Interview with Actor Saverio Vallone
Cannibal Frenzy: Interview with FX Artist Pietro Tenoglio
Brother And Sister In Editing: Interview With Editor Bruno Micheli
Inside Zora’s Mouth: Interview with Actress Zora Kerova
Trailers
Reversible Wrap

Buy it at Severin Films

ANTHROPOPHAGOUS -- Blu-ray Review by Porfle

SINFONIA EROTICA -- Blu-ray Review by Porfle

Originally posted on 3/23/18

 

Spanish director Jess Franco burned his way through cinema like a fuse, voracious and volatile, leaving the ashes of his endeavor in his wake for us to sift through.

Much of it is of mere passing note to me, interesting only to see what such a prolific filmmaker produces when free to work fast and furious and pour out his id on film with little or no restraint.
 
But with this outpouring comes the occasional work that demands my attention and admiration (VAMPYROS LESBOS, SHE KILLED IN ECSTASY, COUNT DRACULA), and one such example is his 1980 anti-romantic, anti-erotic sexual nightmare SINFONIA EROTICA (Severin Films), based upon the writings of the Marquis de Sade. 

Franco's real-life love and muse Lina Romay (THE HOT NIGHTS OF LINDA, PAULA-PAULA) plays Martine de Bressac, returning home after months of confinement to a sanitarium by her husband, the Marqués Armando de Bressac (Armando Borges).

During her absence Armando has acquired and become addicted to a seductive, effeminate male lover named Flor (Mel Rodrigo), both of whom taunt and torture poor Martine with their flagrant contempt for both her emotional needs and urgent sexual desires.

Norma (Susan Hemingway), a timid young escapee from a nunnery, is found lying unconscious on the grounds during one of Armando and Flor's nature romps, and is taken in to become a part of their cruel sexual games. 

She ends up falling in love with Flor, and the two of them plan to not only aid in Armando's plan to murder Martine but to then get rid of Armando himself, leaving them free to run away together. Martine's only allies during all this are a sympathetic maid and a psychiatrist who may or may not believe her story.

Needless to say, SINFONIA EROTICA belies its opulent Victorian romance novel setting--Franco shot it in Portugal using gorgeous mansion interiors and magnificent exterior locations--with fervid, disturbing images of mental and physical cruelty in the form of ugly, non-erotic sex. 

When Franco makes a sex movie instead of a horror movie, the sex seems to replace the horror, or rather it becomes another kind of horror, of a deeper and more Freudian kind.

Here, he gives us a perversely erotic thriller that hates sex even as it's preoccupied with exploring Lina Romay's offbeat beauty and ample breasts as well as showing various joyless lovers rutting like animals in scenes that waver between softcore and hardcore action.

Although involved in several projects at the time (including THE SADIST OF NOTRE DAME and TWO FEMALE SPIES WITH FLOWERED PANTIES), Franco seems neither rushed nor slapdash here, despite his usual shakily handheld camera. 

He lingers over his finely-rendered, sometimes impressionistic imagery as though following a deeply-pondered train of thought, and many of the shots are arranged with both a painter's sensibilities and a perceptive filmmaker's orchestration of character and movement.

Romay is at her best as Martine, looking strangely enticing at all times while also surrendering to the role with an intensity that evokes excitement and sympathy for her character. 

As Armando, Borges plays the heartless cad to a tee, relishing his own sadistic impulses which will eventually include coldblooded murder, which Franco depicts in non-graphic yet chilling style.

But the lack of graphic violence is made up for by the horrific depiction of sex and sexual desire as a Freudian nightmare that leads to madness when infused with malevolence and perversion.

Severin's Blu-ray disc (also available in DVD) is a 4k restoration of an uncut 35mm print which is the only known copy of this cut to exist.  There are some rough spots here and there, but, as I've often said, I prefer for a wizened exploitation print such as this to look like it's been around the block a few times. Otherwise, picture quality is fine. The soundtrack is in Spanish with English captions.

The visually rich fever dream that is SINFONIA EROTICA draws us into Martine's dark, corrupting psycho-sexual ordeal and has its way with us until somebody dies.
 

Special Features:
Jess Franco On First Wife Nicole Guettard – Interview With Director Jess Franco
Stephen Thrower On Sinfonia Erotica – Interview With The Author Of ‘Murderous Passions – The Delirious Cinema Of Jesus Franco’

SINFONIA EROTICA -- Blu-ray Review by Porfle

THE SADIST OF NOTRE DAME -- Blu-ray Review by Porfle

Originally posted on 3/21/18

 

By now, I've seen a fair amount of Spanish cult director Jess Franco's films, and, despite his popularity among countless ardent fans, I've always found his works to be a great big grab bag of good and bad all swirling around together like socks in a dryer--mostly mismatched and full of holes, but occasionally wearable.

With 1979's THE SADIST OF NOTRE DAME, we see the result of Franco taking his earlier sex-and-horror film EXORCISM (already the result of much tinkering and consisting of various different cuts including a XXX-rated one), re-arranging and repurposing the existing footage, and adding several minutes of new footage to create what he himself considered the definitive version.

Franco stars as Mathis Vogel, who once studied for the priesthood at Notre Dame but ultimately failed the final audition, so to speak, due to the fact that he was a raving loon. 

Now, after years in institutional exile, he returns crazier than ever as your stereotypical "religious fanatic" intent on punishing "sinful women" and becomes a dreaded Jack the Ripper-style serial killer.

Vogel's twisted mind is a maelstrom of conflicting impulses as he stalks and murders women he considers whores (promising that this will purify their souls) while being irresistibly aroused by them.

Franco succeeds in portraying him as a sick, pathetic troll of a man tormented by his own desires while even his former friend in the priesthood denies him the absolution for his crimes that he desperately craves.

He meets and is obsessed by pretty Anne (Franco's lifelong lover and muse Lina Romay) who works for a lurid sex magazine where he submits autobiographical sex stories, and, through her, stumbles upon a group of upper-class swingers who meet regularly in a castle for perverted S&M sex shows followed by intense orgies. 

The rest of the film follows Vogel's stalking and killing of members of the group, usually after he has voyeuristically observed them having sex involving dominant-submissive roleplay.  Romay's fans will enjoy seeing her romping about in various stages, although I found most of the other anonymous, undulating nudes somewhat less appealing.

Much of the violence is surprisingly non-graphic while still managing to be deeply disturbing, especially when juxtaposed with ample amounts of nudity and fevered Freudian sexuality. 

Occasionally, however, there are flashes of more graphic violence that increase the shock value, and, taken as a whole, this must've presented late 70s audiences with quite a heady concoction.

Meanwhile, there's a subplot (mostly from the original version, I think) involving some bickering police detectives on Vogel's trail.  This is meant mainly to show us that the net is indeed tightening around our perverted protagonist as he goes about his murderous ways, although some of the conflict between the veteran French detective and a young hot-shot cop on loan from Switzerland is interesting.

Besides Lina Romay (PAULA-PAULA, THE SINISTER EYES OF DR. ORLOFF), the cast also includes Olivier Mathot (TWO FEMALE SPIES WITH FLOWERED PANTIES), Pierre Taylou (HOT NIGHTS OF LINDA), and Antonio DeCabo (VIRGIN AMONG THE LIVING DEAD).

Technically, THE SADIST OF NOTRE DAME is the wildly-prolific Franco's standard rushed production--he often burned through several projects at once--filled with quick set-ups, lots of zooming and meandering camerawork, and the occasional evidence of a talented film visualist at work. 

Often Franco simply allows his cinematic mind to wander, resulting in long stretches that may delight his fans while lulling others to sleep.  The story itself is pretty threadbare and dependant upon its outlandish, grotesque imagery and themes for whatever impact it may have on individual viewers.

The new Blu-ray and DVD release by Severin Films is taken from the only known existing copy of the film, a 35mm print scanned in 4K after reportedly being discovered "in the crawlspace of a Montparnasse nunnery."  The various resulting imperfections only add to its visual appeal for me since I find perfect, flawless clarity in a film to be off-putting.  When it comes to old-style exploitation such as this, I like a print that looks like it has been around the block a few times.

I found THE SADIST OF NOTRE DAME sporadically interesting but never particularly appealing for either its horrific or erotic qualities. Francophiles, I assume, will find it fascinating.  And still others will doubtless agree with the Spanish film board's assessment of it--proudly touted in the film's publicity--as "an absolute abomination."

Special Features:
The Gory Days Of Le Brady – Documentary Short On The Legendary Parisian Horror Cinema
Stephen Thrower On Sadist Of Notre Dame – Interview With The Author Of ‘Murderous Passions – The Delirious Cinema Of Jesus Franco’
Selected Scenes Commentary With ‘I’m In A Jess Franco State Of Mind’ Webmaster Robert Monell
Treblemakers: Interview With Alain Petit, Author Of ‘Jess Franco Ou Les Prosperites Des Bis’
Spanish language or English dubbed with subtitles

THE SADIST OF NOTRE DAME -- Blu-ray Review by Porfle

EMANUELLE AND FRANCOISE -- Blu-ray Review by Porfle

Originally posted on 4/27/19

 

Is "Cinemax After Dark" still a thing? I remember in the 80s when HBO's sister channel Cinemax would show softcore sex comedies and thrillers during the late-night hours. Director Joe D'Amato's EMANUELLE AND FRANCOISE, aka "Emanuelle's Revenge" and "Blood Revenge" (Severin Films, 1975), is a lot like what would happen if one of those softcore sex thrillers had a head-on collision with one of the director's celebrated blood 'n' guts gore epics. 

Francoise (Patrizia Gori, WAR OF THE ROBOTS, DEADLY CHASE) is a cute, chipper fashion model whose life would be sunshine and lollipops if her live-in boyfriend Carlo (well-played by George Eastman of D'Amato's ABSURD and ANTROPOPHAGUS) weren't such a horrible cad.

 

Not only does he make her have sex with guys he owes money to, but when she walks in on him getting it on with another woman, his response is to stuff her clothes in a suitcase and toss her out on her ear.  Poor heartbroken Francoise goes straight to the nearest train track and throws herself in front of the next speeding locomotive.

Enter Francoise's worldly older sister Emanuelle (Rosemarie Lindt, SALON KITTY, PORNO-EROTIC WESTERN), who, after reading Francoise's novella-length suicide note, vows revenge against Carlo. 

She contrives to meet him and then leads him on until he ends up in her trap--a secret prison cell behind a sliding wall in her living room, with a two-way mirror through which chained-up Carlo must watch her indulge in the culinary and sexual delights he is now denied (with a much harsher final punishment reserved for the end).

The film is an example of how capable director Joe D'Amato (THE ALCOVE, ABSURD, ANTROPOPHAGUS, BEYOND THE DARKNESS, EMANUELLE AND THE LAST CANNIBALS) was at handling this sort of sexy potboiler, which has the look of one of the better low-budget Italian films of its kind being produced during that era. 

There's a good deal of nudity and sexual activity, from Francoise's unfortunate encounters to Emanuelle herself cavorting with various male and female partners for Carlo to see.  Rosemarie Lindt, not exactly the kind of woman I picture when I hear the name "Emanuelle", is a good actress with sort of an Honor Blackman quality.

Co-written by D'Amato and Bruno Mattei (SHOCKING DARK, ZOMBIE 3, ZOMBIE 4), the film resembles a giallo much of the time, but what really plunges it into horror territory is when Carlo, forced to watch as his captor and her guests gorge themselves on an elegant candlelight dinner, imagines them feasting on human body parts.  Thus we see these sophisticated diners happily chomping away on severed hands, feet, and various other carnal delicacies rarely seen outside of a zombie flick.

A later scene (which may or may not be a hallucination) finds Carlo on the loose after escaping his secret room and attacking Emanuelle with a meat cleaver.  This scene consists mainly of Lindt rolling around nude in a gallon or two of fake blood while a crazed Eastman swings the meat cleaver, which doesn't look very convincing but is certainly lively and fun to watch.

Things finally come to a head when Emanuelle decides it's time for Carlo to pay the ultimate price (I'll give you three guesses what that is), leading to an entertaining final sequence with a pleasing twist ending.  It's more of a kick in the rear than a gut punch, but fans of both sexy thrillers and gruesome gorefests should find that EMANUELLE AND FRANCOISE fits the bill on both counts. 



Buy it at Severin Films

Street date: April 30, 2019

Special Features:
    Three Women and a Mirror: Interview With Actress Maria Rosaria Riuzzi
    The Other Side of the Mirror: Interview With Actor George Eastman
    Deleted/Alternate scenes
    Trailer
    2k Scan From Original Negative
    Reversible Cover

EMANUELLE AND FRANCOISE -- Blu-ray Review by Porfle

WILD BEASTS -- Blu-ray Review by Porfle

 Originally posted on 2/3/17

 

Okay, first of all, WILD BEASTS (1984), now on Blu-ray from Severin Films, is one very warped, one very grotesque flick. 

And second of all, if you're a soft-hearted PETA type--or just anyone who can't stand seeing animals being hurt in any way--then you will not like this movie.  In fact, you should avoid it at all costs. I'll explain why in a bit, although you might as well stop reading now because you won't want to see it. Ever. (But don't stop reading. I just said that for effect.)

The premise is simplicity itself--someone puts PCP into the water supply, and when some zoo animals get a snootful of it they escape into the heart of the city and go on a rip-roaring rampage of revenge.  Against what, you ask?  Why, against humans for "raping nature" as the trailer informs us.

 

Head zoo-guy Dr. Rupert "Rip" Berner (real-life animal tamer John Aldrich) and his scientist girlfriend Laura Schwarz (Lorraine De Selle) are knee-deep in it all from the git-go, with Rip (in her Italian accent Laura calls him "Reep") working with veteran police inspector Nat Braun (Ugo Bologna) to track down the marauding animals while Laura rushes across town to protect her young daughter Suzy (Louisa Lloyd), who's in a dance class that will soon be invaded by a hungry polar bear.

Well, the manure hits the ventilator early on in this anything-goes Italian free-for-all when the wild animals hit the streets and start chowing down on city dwellers like they were meaty treats.  The result is an abundance of graphic gore effects as we see screaming victims being devoured before our eyes.

While this, fortunately, is merely simulated, not so fortunate are several live rats that are roasted alive with flamethrowers (after molesting a kitty cat) and some livestock that get attacked by very toothsome lions.  We've all seen movies that made us ask, "Wow, how'd they do that?"  In this case, they just freakin' DID it. 

 

Of course, most fainthearted viewers will have already checked out during the main titles at the sight of a zookeeper chopping up actual horse heads for lion food, which we see the ravenous cats gleefully devouring.  I found this scene particularly disturbing since I happened to be eating hot dogs at the time.

More gleeful devouring takes place throughout the film, but what really shifts much of WILD BEASTS into mindboggle-mode are scenes such as elephants invading an airport and causing a plane to crash during landing.  The SPFX include some surprisingly elaborate model work which is not all that convincing but is great fun to watch. 

Elsewhere, we're treated to the sight of a cheetah chasing a Volkswagen convertible at full speed down a city street, a tiger loose in a subway car, and, wilder still, a herd of cattle stampeding through the heart of a modern city. 

This is stuff you just don't see every day, and, as I mentioned, it's all the more amazing because it's real.  Nowadays they'd just CGI it all up and expect us to "ooh" and "ahh" over a cartoon.

 

Such spectacle makes up for the fact that this is a low-budget production done on the fly with barely any retakes by MONDO CANE director Franco E. Prosperi, who knew how to stretch a lira thanks to his extensive documentary experience. 

The hasty schedule means not much attention is given to cinematic style, but the hit-and-run atmosphere is exciting and the editing is great. Daniele Patucchi's score is a combination of Goblin-style suspense music and really cool jazz.

The Blu-ray from Severin Films is in widescreen HD with English and Italian 2.0 soundtracks (English subtitles are available).  Once again Severin comes through with a solid bonus menu including terrific recent interviews with director Prosperi, star Tony Di Leo (aka "John Aldrich"), editor Mario Morra, and circus veteran/animal wrangler Carlo Tiberi.  There's also a scenic tour of Prosperi's museum-like home and a trailer. 

I didn't like WILD BEASTS much at first--in fact, its more crude and distasteful elements and contemptible animal abuse continued to turn me off throughout-- but I eventually warmed up to and started enjoying this absolutely off-the-wall exploitation flick.  The ending is especially good, because instead of petering out or leaving us unsatisfied, the film saves its wickedest plot twist, and its wildest beasts, for the very end. 


Release date: Feb. 7, 2017

WILD BEASTS -- Blu-ray Review by Porfle