Posts Tagged ‘Exploitation’

Fascination (1979)

//

This is why you don't bring a knife to scythe fight.

Note: this review contains spoilers. Proceed with caution.

According to exploitation legend, the story of Fascination started when Jean Rollin imagined two turn-of-the-century women dancing, and indeed that is the image that opens the film. The women are Elizabeth (Franca Mai) and Eva (Brigitte Lahaie), two of a circle of noblewomen, led by Hélène (Fanny Magier), who have developed a taste for human blood and lure unsuspecting men to their midnight ceremonies. Into their clutches wanders Marc (Jean-Marie Lemaire), a thief on the run from the partners he’s double-crossed. In short, it’s pretty much lesbian vampire story 1A.

The Nude Vampire (1970)

//

"Cross-o-gram? Oh, yes. Very droll."

This review contains spoilers. Caveat lector.

So, The Nude Vampire: Dr Radamante (Maurice Lemaître) and his colleagues (Bernard Musson, Jean Aron) are evil scientists (is there any other kind), holding a young woman they believe to be a vampire (Caroline Cartier) hostage. For some reason, their plan involves a suicide cult, people in animal masks, interpretive dance, and girls in strange costumes. I’m sure it would have all played into their master plan, except before it can come to fruition, the vampire girl escapes, right into the arms of Radamante’s son, Pierre (Olivier Rollin). She’s recaptured, but not before piquing young Pierre’s curiosity.

Female Vampire (1973)

//

Yeah, that's about as dressed as Countess Karlstein (Lina Romay) gets.

Jess Franco has never really been one for tight plotting, which he proves yet again in 1973′s Female Vampire. Franco himself (under one of his many pen-names, Jess Franck) stars as Dr Roberts, a pathologist investigating a series of murders he, quite rightly, believes are being perpetrated by a vampire. Franco’s muse, Lina Romay in one of her first starring roles, plays Countess Irina Karlstein, a vampire who walks around naked and kills some people. Our leading man is Jack Taylor who plays — I dunno, a poet? He doesn’t really do much for the first hour of the film, except trim his moustache and wax philosophical in voice-over. He does have a handsome moustache, though. That’s really all the plot there is.

La nuit des horloges (2007)

//

Isabelle (Ovidie) and the winged spirit (Sabine Lenoël)

Unlike Jess Franco, who — as regular readers will remember — has regressed as director, Jean Rollin seems to have quietly grown into an accomplished auteur. His penultimate film, La nuit des horloges (“the night of the clocks”), is an artistic tour de force and by far the best Rollin film I’ve seen. Indeed, by far the best exploitation film I’ve seen in a long while.

Maid in Sweden (1971)

//

Inga (Christina Lindberg) meets a gratuitously predatory lesbian (Wivian Öiangen).

One of Maid in Sweden‘s writers uses the pseudonym “Mike Hunt”. That should tell you everything you need to know about the quality of this film, but since I’m supposed to be offering reviews and commentary (it says so right in the title):

Naïve 16-year-old Inga (Christina Lindberg) goes to stay with her sister, Greta (Monica Ekman), and Greta’s loutish stoner boyfriend, Carsten (Krister Ekman), in Stockholm. Carsten mocks Inga’s innocent country ways, and she’s set up on a date with failed artist (and lout) Björn (Leif Naeslund) who basically rapes her into falling in love with him, continuing a trend from the last Lindberg movie I reviewed. Then Carsten does the same thing. And there’s your plot.

Journey to Japan (1973)

//

As you can tell by the fake moustache, Ingrid (Christina Lindberg) stepped into the wrong cab.

Any time I sit down to watch a film for review, there’s a risk I’ll sit there ninety minutes later staring at an blank notebook page and nothing interesting to say about the film. Usually, I just move on to the next film, but I thought I’d make an exception for Journey to Japan, just to see if I can find anything to say about it that isn’t either boring or obvious. Let’s see.

What Have They Done to Solange? (1972)

//

Solange (Camille Keaton) is black-and-white. What have they done?

A gym teacher and Italian professor at a girls’ high school, Enrico Rosseni (Fabio Testi), is out on a river with his student/lover, Elizabeth (Cristina Galbó), when the lover sees a girl being chased on the river bank. Rosseni is dismissive, but when he hears a news report about the body of a girl being found by the river the next morning, he realises he’s gotten himself involved in a murder, and finds himself under the watchful eye of Inspector Barth (Joachim Fuchsberger) of the Scotland Yard. Then more young girls are found brutally murdered and Inspector Barth’s and Rosseni’s investigations lead them to an overwhelming question: What did they do to Solange (Camille Keaton), and how exactly is it connected to the murders?

Exposed (1971)

//

Lena (Christina Lindberg) being blackmailed by Helge (Heinz Hopf)

Christina Lindberg first made a name for herself in her native Sweden as a nude model, and parlayed that notoriety into an acting career that included a starring turn in the seminal Swedish exploitation film, Thriller – En grym film, and quite a bit of soft porn.

The Rape of the Vampire (1968)

//

Cross-o-gram!

Rape of the Vampire is French exploitation auteur Jean Rollin’s first feature-length film, for which he received financing after a producer saw Rollin’s short film of the same name. Rollin shot a second part, slapped it together with the original short and the result is what is reputedly the first French vampire film. Because of the strike and student protests in May 1968, French distributors froze new releases, which meant that Rape of the Vampire became the most successful French movie of that year. I’m sure Rollin would agree with Homer Simpson, that the two most beautiful words in the English language are “de” and “fault”.

Snakewoman (2005)

//

One of Van Gogh's lesser known works: Crazy Woman and Sunflowers.

One of Van Gogh's lesser known works: Crazy Woman and Sunflowers.

There are good directors, there are bad directors, and then there are directors like Jesús “Jess” Franco. I like Franco, but the man is a cipher: his œuvre consists of a great many bad films and a few gems; he seems often to be technically incompetent, but he was good enough to A.D. for Orson Welles; his films are often blatantly pornographic and shamelessly exploitative, but a very few of them are honest-to-god works of genius. You can watch ten of his movies, and nine of them will be awful. Then, just when you’re about to dismiss him as a hack, the tenth will be a weird, surreal, seemingly-accidental masterpiece. I honestly can’t decide if he’s just a hack who happened to make a few good films from some twisted law of probability or if he’s a good director who only occasionally cared enough, was given enough money, and free enough reins to put in some effort. My relationship with Franco’s work is a constant search for those aberrations in his œuvre.