My Primary intention for this blog, as stated on the ‘about’ page, is to write appreciations of Jean Rollin and Jess Franco, two directors whose work has been important to me for a quarter of a century now. While I’m not yet sure what form these pieces will take, I am fairly confident they will be challenging to write. In the case of Rollin, whose most compelling films seem more concerned with evoking states in the viewer than adhering to cinematic conventions, I suspect the work either resonates or it does not. In the case of Franco, the challenge is even more daunting: how does one even begin the evaluation of a director with more than 150 films to their name and a career spanning more than 5 decades? I think the only sensible answer is ‘in pieces’.
Perhaps inevitably given its length, Franco’s career can be broken into identifiable chunks. We have the black and white films made at the beginning of his career, the films produced by Harry Alan Towers, by Robert De Nesle, Erwin Dietrich, and so on. I think this is the basis on which I will approach the task. For me, Franco’s most interesting films date from about 1968 to 1975, a period in which he directed approximately 50 films, including those made with the aforementioned Towers and De Nesle, with Soledad Miranda and, thereafter, Lina Romay. This is where I’m going to focus my attention, for the time being at least. I’m not going to call it a plan, but it might be the first step towards one. Perhaps I’ll warm up by listing some of the key films from this period for those who want to play along at home.
“Forgive me, for I know what I do.”
My review of Metzger’s jaw-dropping The Image can be found here. Normal programming will resume in the coming weeks.
“I’d climb aboard a porcupine if it struck my fancy.”
My review of Metzger’s swinging Score (1973) can be found here.
“Reality is more malleable than we sometimes give it credit for.”
My review of Metzger’s brilliant ‘The Lickerish Quartet’ can be found here.
“Don’t you ever come down?”
In a change to our advertised programming, we take a look at Radley Metzger’s brilliant Camille 2000 . . . here.
“The blood was all over the place. I can’t take it.”
After an extended break, a look at the three Franco films which became entangled in the video nasties net . . . here.
“You and your troop of lesbians were useful to us for a while.”
My review of Das Fraunhaus / Blue Rita (1977) can be found here.
“It is the destiny of all beauty to be destroyed.”
My review of Franco’s mesmerising Das Bildnis der Doriana Gray can be found here.
“I’m a doll. A real doll.”
I haven’t forgotten about or given up on this blog. My circumstances simply changed and I’ve not been able to dedicate any resource to it.
My intention is to write an essay on the Women in Prison films Franco directed for Erwin Dietrich – specifically Barbed Wire Dolls, Wanda the Wicked Warden, Love Camp and Women in Cellblock 9 – and publish it this side of Christmas. I will then endeavour to get one more piece up over the festive period – most likely a review of either Doriana Grey or Blue Rita.
Updated to add, Barbed Wire Butchers can be found here.
“You are like some mysterious, compelling character from the pages of a fairy tale.”
This may be my last post for a little while. Fittingly, it feels like the end of a chapter. My review of Lorna . . . The Exorcist can be found here.
“We must know evil to be able to fight it.”
As stated elsewhere, my first exposure to Franco’s cinema came in the mid-nineties, when Redemption Films released a slew of key titles on VHS. Sadly, the UK was subject to severe censorship during this period and a number of those releases – A Virgin Among the Living Dead and Female Vampire, to name but two – suffered cuts as a result. Worse still, two films – namely, Demoniac and Sadomania – were banned outright. I’m working on a review of the former – better known as Exorcism these days – at the moment. In the meantime, my long overdue introductory essay can be found here.
Updated to add that the review of Exorcism can be found here.