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Into the Black: Jess Franco's THE AWFUL DR. ORLOF (1962)

It's one of the most brilliant and shocking openings in horror film history.  As we are greeted with the first flickering of celluloid we see a seemingly abandoned alley only visibly lit by a lantern in the foreground.  The black and white photography is immediately jolting and that, combined with the deadening silence on the soundtrack, makes us think we are perhaps watching an expressionistic film from the silent era.  As the camera begins to pan down to the street we suddenly hear a the sound of a woman singing and the first strains of the film's audacious and dissonant jazz score.  A lady of the night comes into frame as the camera pans down even more.  She is holding a purse in one hand and a wine bottle in the other and she is clearly intoxicated.  She sings, and even twirls, as she stumbles down the street to a door as the camera lingers and the music on the soundtrack gets progressively more percussive, more intense.  The credits begin to roll as she opens her door...L'Horrible Docteur Orlof or The Awful Dr. Orlof depending on which version you are watching.  What an utterly bizarre title that is and yet even before we are even a minute into the film it seems to capture the sheer oddness of everything that is beginning to play out in front of our eyes.  The woman makes her way into her flat but our eyes are left on the alley, once again seemingly abandoned, as the credits continue to roll.  After a moment the camera begins to slowly pan up the side of the building and we notice the first edit in the film and it is almost a subliminal one.  A light appears in the window and BOOM edit number 2 but this one is jolting...even harsh.  We are suddenly in the woman's apartment and the dark oppressive lighting outside has been transformed into something brighter but somehow even more menacing.  The woman continues to sing and stumbles around her room as the camera quickly pulls back, its stillness replaced by a sudden frenzy.  She takes yet another drink and is then momentarily entranced by her own reflection in a mirror.  The music takes on a brief eerie stillness as our unnamed heroine shuffles to her closet where, upon opening, she is greeted by a truly horrifying sight as the soundtrack swells into a deafening shriek.  Another jolting cut, a zoom-in on a man in the closet, his eyes bulging and lifeless.  Is he wearing a mask or is he horribly disfigured?  We only get a glance before another cut, this time a close-up of our female victim before another edit takes us back into the room where we witness a brutal attack.  A fight ensues, the man pushes the woman towards her window and then we are suddenly back to our spot on the street looking up.  The edits then take on a frenzied rapid fire approach cross-cutting rapidly between the fight, a shocked boy staring out of his apartment window and a man awakened by the sounds of his neighbor screaming.  We see the lamp in her apartment knocked over in the scuffle as the as of yet unnamed assailant renders her unconscious and carries her possibly lifeless body out of her apartment back to our abandoned alleyway.  Our attacker wanders aimlessly down the alley way until the sound of cane tapping against a nearby wall alerts him to follow.  We see a stranger in the distance waiting and then leading this mysterious monster, and our doomed lady, down another isolated alley way into the deep dark black of the night. 

 

 

While Gritos en la noche, or The Awful Dr. Orlof as it is more universally recognized, wasn't the first film that Jesus Franco Manera had directed it was the work that would forcefully announce him as one of the most daring and distinctive filmmakers of the sound era.  Viewed now more than fifty years after its original 1962 release date The Awful Dr. Orlof stills feels as perverse and shocking as ever.  While it is much more controlled and subtle, mostly due to the rigid censorship that was in place in the early sixties, than Franco's most personal later works it remains one of the most progressive horror films ever made.  As Cathal Tohill and Pete Tombs would write in their indispensable Immoral Tales, "there was nothing old hat about this dank masterpiece, it pulsed with a new freshness, ransacking the annals of cinema with a deviant vigor."

 

 

I must admit that I have never felt the remaining portion of The Awful Dr. Orlof ever quite matches the absolute genius that is on display during its opening few minutes.  Aspects of the film have a certain procedural quality that I don't completely respond to but there is no question that it is one of the most important films in Jess Franco's unbelievably prolific career and one of the most important films of the sixties.  While actors Howard Vernon, Diana Lorys and Richard Valle (so unforgettable as the monstrous Morpho) all give star-making turns my favorite aspects of the production remain Franco's daring direction (which transcends the film's incredibly low-budget and chaotic shooting schedule in every shot), the incredible black and white photography of Godofredo Pacheco (which manages to tip its hat to decades old classics while being totally transgressive) and the ferocious cutting of editor Alfonso Santacana (who would put many of the skills he had learned working with Franco to iconic use a couple of years down the road for Sergio Leone's A Fistful of Dollars).  Despite its budget, and forgiving some continuity errors that were caused by the varying versions of the film prepared, The Awful Dr. Orlof is an incredibly well-made and effective film.  It remains perhaps the easiest, and most natural, entry-way into the world of Jess Franco even though ultimately I think he would perfect many of the films themes and stylistic touches in later works. 

 

 

The Awful Dr. Orlof has recently been released as a splendid special edition DVD and Blu-ray by Redemption/Kino Lorber.  Containing the more explicit French-language cut (with the English dub offered as a separate audio-track) this newly struck print of The Awful Dr. Orlof looks quite good.  Some print damage is apparent throughout the film but I have never seen a version of this work that is visually as detailed and intoxicating.  Like their other most recent Franco releases (A Virgin Among the Living Dead and Nightmares Come at Night) The Awful Dr. Orlof comes armed with some really splendid extras including a David Gregory directed and Elijah Drenner produced interview with the much-missed Franco and a terrific new near 20 minute documentary on the film from director Daniel Gouyette.  A trailer for the film, and other Franco titles, is also on hand as well as a photo gallery and the very moving Gouyette work Homage to Jess that also graces the other new Franco releases.  Last but certainly not least we have a wonderful new Tim Lucas audio-commentary, that is a wonderfully detailed and an essential listen for fans of the film, Franco and horror-cinema in general.  If I have one complaint about this new special edition release of The Awful Dr. Orlof it is that it doesn't contain the longer alternate Spanish version that is mentioned numerous times on the film's supplements.  Otherwise this is a stellar new release and a major upgrade for an undeniably important film. 

 

-Jeremy Richey, 2013-

 

 

Video Watchdog's Dog Days Sales Event

All through August the Video Watchdog website is running a major sales event. Each day will bring a different sale over at VW, 31 absolutely wonderful reasons to visit their site throughout August. The first sale, five dollars off Tim Lucas' essential Video Watchdog book, is up and running and I have added a little panel over to the side to make it easy for folks reading here to click over there all month. So throw some support Tim and Donna Lucas' way, and at the same time get your self some discounted VW goodies all throughout August.

Twenty Years of Video Watchdog

Tim Lucas is reporting over at much missed Video Watchblog that this month marks the twentieth year that his overwhelmingly influential Video Watchdog has been in existence. In an era when it is next to impossible to keep an independent publication anywhere near above water, the fact that Tim and Donna Lucas have managed to keep Video Watchdog alive and kicking is more than worthy of a celebration. The fact that Video Watchdog has also managed to be consistently far and away the most important genre, and film in general, publication around is even more remarkable. So, congratulations to Tim and Donna, and here’s to twenty more years of Video Watchdog!

Reading The Movies (A Meme)

I’ve been tagged by the always terrific Dancing Image in a meme going around focusing on the film books that have proved inspirational in the way I think and write about films. It’s a terrific idea for a meme and I am more than happy to participate. I’ve selected a dozen or so of my favorite books on cinema that have proved invaluable references to me throughout the years, and I would recommend any of them to any fellow film lover. While these choices definitely show me as a cineaste more interested in film history rather than theory or criticism, I could have easily selected any number of critical works from a Kael, Rosenbaum, Ebert or Sarris that I have left off here…I just went with my gut though and these were the books that jumped out at me as I was constructing the list.

In alphabetical order by title:

Abel Ferrara: The Moral Vision: Brad Stevens penetrating look at the films and career of Ferrara is one of the great film studies I have ever read. Carefully balancing history and criticism with one of the sharpest pens around, Stevens finds the depth and complexity in Ferrara’s work that so many others miss.

Charlie Kaufman and Hollywood’s Merry Band of Pranksters: Derek Hill’s wonderfully perceptive book on a movement most haven’t even noticed yet will continue to resonate for years to come, especially when the work of folks like Sofia Coppola and Wes Anderson have had time to really sink into film history’s collective psyche.

Double Lives, Second Chances: Annette Insdorf’s tremendous book on Kieslowski’s life and career is my favorite on the much-missed Polish director. As with her studies on Truffaut, Insdorf brings an equal amount of passion and intelligence to her look at Kieslowski and her thoughts will make even the most seasoned watchers notice something new in his films after reading.

Flesh and Blood Compendium: Flesh and Flood was a daring British film magazine that stretched throughout the nineties. This massive best-of collection features many of their best interviews, reviews and studies. Just like the magazine, it is a truly ambitious and quite astonishing look at the outer edges of cinema history.

Future Noir: The Making of Blade Runner: Paul Sammon’s extremely exhaustive and entertaining book on the making of Blade Runner remains perhaps the finest single look at the making of a film ever written.

Greta Garbo: A Cinematic Legacy: The ever popular “Films of” type book has been done time and time again but never has it been so meticulously researched or as beautifully presented as Mark Vieira does here.

Immoral Tales: I have written of the profound effect this Tohill and Tombs book has had on me, and it has lost none of its importance in the near fifteen years since it first hit American shores.

Mario Bava: All The Colors of The Dark: Tim Lucas’ monumental book is not only one of the great biographies ever written on a filmmaker, but it also stands as one of the great film histories ever published. Tim’s ambitious work will make you rethink not only Mario Bava's place among the great filmmakers of the 2oth Century, but also the history of film itself.

The Exorcist: BFI Modern Classics: I love these little BFI film books and Mark Kermode’s look at William Friedkin’s much-misunderstood classic is a great read.

The New Wave: James Monaco’s book had a huge impact on me when I discovered it in high school, and I still think it is the best thing ever written on the films of perhaps cinema’s most influential movement. I like it so much that I am choosing it over another favorite, Godard on Godard.

The Other Hollywood: Legs McNeil and Jennifer Osbourne's extremely entertaining and informative work on the part of film history so many like to ignore is important stuff. The first half of the book covering the earliest days of the adult film industry up through the early eighties when video take over is always eye opening and at times jaw dropping.

Truffaut by Truffaut: I have an entire book shelf dedicated to books on Truffaut and this gorgeous coffee table collection is my favorite. Told through his own words and including hundreds of rare documents and photos, this is my favorite book on my favorite director.

I would love to see the lists of the following...so consider yourself tagged, but don't feel any pressure to join in if the timing isn't right:

J.D. at Radiator Heaven.

Kate at Love Train for The Tenebrous Empire.

IbeTolis at Film for the Soul.

Amanda at Made for TV Mayhem.

Brandon Colvin at Out 1.

A Screening of Mario Bava's Black Sunday in Cincinnati

Readers in the Cincinnati area (or those willing to make a worthwhile road trip) should be advised that there is to be a rare screening of Mario Bava’s masterful Black Sunday on Monday March 9th. The event will take place at Cincinnati’s Contemporary Arts Center and will be introduced by none other than Video Watchdog publisher and Bava biographer Tim Lucas. A little information on the event can be found here, and at only $7.50 a ticket it is a great bargain. Kelley and I should be there and it promises to be a terrific night for Italian horror and film lovers in general.

Images From My All Time Favorite Films: David Cronenberg's Videodrome (1983)

I am posting this special Friday edition of Images From My All Time Favorite Films to not only salute my favorite David Cronenberg film, but also to alert anyone who might not know that Tim Lucas' long awaited behind the scenes book on Videodrome is out. Signed copies can be ordered directly from Video Watchdog here and Amazon also carries the book. Congratulations to Tim for his new book, I can't wait to give it a read.

A Tribute To Mimsy Farmer in Argento's Four Flies on Grey Velvet

This is part of my Four Flies on Grey Velvet Tribute Week at Harry Moseby Confidential.

***A few of the quotes below contain some spoilers***

The films of Dario Argento are not usually noted for the quality of their actor's performances but it is this very thing that keeps me returning to Four Flies On Grey Velvet even though finally it is perhaps not among his greatest works.
I find Mimsy Farmer's beautifully bruised performance to be one of the best the Italian genre cinema ever offered up...a surprisingly moving and powerful turn from an actress who has always been undervalued as one of the best of her generation. Farmer's performance is totally captivating and unforgettable, specifically in the last two scenes of the film that rank along the best of any Argento ever shot.
Here is a photographic tribute to Mimsy in Four Flies on Grey Velvet along with some quotes by Mimsy herself (taken from the out of print Spaghetti Nightmares by Luca M. Palmerini and Gaetano Mistretta) and from Dario and co-star Michael Brandon as well (taken from the essential Profoundo Argento by Alan Jones). I am also including a couple of quotes from both Roger Ebert and Tim Lucas on Mimsy's performance.

"Argento must have seen More and decided that I was good at playing the part of the neurotic woman." (Farmer)

"Mimsy Farmer had made a strong impression on me in Barbet Schroeder's More." (Argento)

"I had a great time...Argento invented the Italian thriller, so in a way he did for suspense films what Sergio Leone did for Westerns, in that he neglected the characters, the psychological aspects and the story in order to focus on the effects..." (Farmer)

"The movie is Four Flies on Grey Velvet, an Italian suspense film that has very little going for it except for Mimsy Farmer. She's the slight, blond girl who starred in More, a sex-drugs-violence movie shot with a certain hypnotic effectiveness in Morocco. She also starred in a few cheapo motorcycle movies about five years ago. She looks a little like Jean Seberg, has a marvelously sculptured face and deserves to get some of those Mia Farrow roles." (Roger Ebert)

"Argento made us work hard, even 14 hours a day." (Farmer)

"There is, however, the interesting Mimsy Farmer, who has the best mouth since Joey Heatherton." (Ebert)

"As for Dario, I rather liked him, except that the way he wanted to come across as neurotic all the time seemed ridiculous to me. Perhaps he was a little neurotic-all of us are to some extent-but certainly not as much as he wanted people to believe." (Farmer)

"Working with Mimsy Farmer is not of my clearest memories. I think she purposely withdrew from me because her Nina character turned out to be the killer and she wanted to keep it real and method." (Brandon)

"I didn't establish much of a relationship with him (Argento), although we spent several hours of the day together. We weren't alone, the crew was there too, and we only talked about work." (Farmer)

"Away from the film we didn't hang out or socialize. That's what she wanted." (Brandon)

""I think he overdid it slightly with his neurosis...but basically I think he was perfectly aware of what needed to be done in order to make the film a success." (Farmer)

"How else can you put a psychotic killer across on a thematic level unless you make their actions disturbing for those watching?" (Argento)

"I remember that this (the final monologue) was another scene we shot very late at night, around 3:00am. It didn't take long to do it because Dario used three cameras to shoot the master, the American plan and the close-up simultaneously. I think that on the whole we repeated the scene two or three times at the most." (Farmer)

"As always, the sharper the picture, the more attentive we can be to matters of performance and Mimsy Farmer gives one of her most interesting and brittle performances here." (Tim Lucas at Video Watchblog, from his post on the newer German DVD release.)

"My face was made up to look very pale and my lips, by contrast, quite red." (Farmer)

"Mimsy Farmer plays Brandon's wife with the brand of porcelain calm and bared electric wiring that is her trademark; when she is revealed as the puppet-master behind her husband's carefully engineered torment (I'm not revealing anything here that wasn't revealed in the movie's stills set), she's as convincing a psychopath as Argento ever showcased. McDonagh's book reveals that FOUR FLIES was the only one of Argento's films in which the director did not stand in for his killer; she surmises that this is because Brandon's resemblance to the director satisfied his narcissistic needs, but I can well imagine the white-coiffed Ms. Farmer flashing her clenched teeth at Argento the moment he got too near her black gloves and sending him cowering to the nearest corner." (Tim Lucas again at Video Watchblog, this time in his original look at the film.)

"Argento's idea was good, he wanted the character to shoot at the other person without aiming, as though it were a mechanical gesture rather than mediatated. It's an interesting idea. I shot without looking, carried away by the memories; I talked about my past and shot randomly, without hate." (Farmer)

"Four Flies on Grey Velvet wasn't bad...the effects were good, but it's a film I don't particularly care for...I think the film did well, though, and I believe Argento achieved what he had set out to do." (Farmer)

For my older tribute to Mimsy, focusing on her entire career, please visit here.

Video Watchdog Gives Eli Roth's Hostel Part 2 a Big Thumbs Up

I have been really curious since its release last year what the country's leading Genre publication, Video Watchdog, would think of of Eli Roth's controversial Hostel Part 2 so when I got the new issue yesterday and saw it mentioned on front I flipped eagerly to the review of it. I am thrilled to report that Shane M. Dallmann, one of my favorite writers from V.W., gives the film a high recommendation and his long review of it is among the best I have read.
Dallmann pretty much gives due to everything I love about the film, including how well acted it is and how it improves upon repeated viewings. I especially appreciate that Dallmann notes that the film's more gruelling horror sequences "are staged for maximum emotional effect" and later that "the horror derives equally from what's happening and from who it's happening to." two keys to the film few other critics picked up on.
Dallmann also wisely point out how much Hostel Part 2 is lovingly designed after the Italian Giallo of the seventies, with special mention going to both Sergio Martino's Torso and Aldo Lado's Night Train Murders.
All in all it is a fantastic look at a sorely undervalued film. Roth should be proud that his film has been given the seal of approval by one of Video Watchdog's best writers.
As for the rest of issue 137, I haven't had a chance to read through it all yet but it looks like another cracking one after last month's Grindhouse issue, which was one of their best ever. The cover star and moving center story belongs to The Curse Of The Cat People's Ann Carter and other reviews include looks at works ranging from Fulci's The Psychic to The Beatles in Help!

My Memory Of Not Seeing Henry And June

Tim Lucas has a really nice post on Philip Kaufman’s Henry and June (1991) over at Video Watchblog that everyone should check out when they get a chance. Reading it reminded me that I really need to go back and give this film another look as it has been well over a decade since I have seen it.
I remember pretty vividly when the film came to Evansville, Indiana during my Senior year of high school. I was a huge fan of both Kaufman’s Invasion Of the Body Snatchers (1978) and The Unbearable Lightness Of Being (1988) and had greatly been anticipating Henry And June. Making the film even more appealing was the fact that I had also just discovered Miller’s Tropic Of Cancer and Nin’s Delta Of Venus the year before and was nursing a serious crush on Uma Thurman.
It was raining the Saturday afternoon I drove down to the one theater in Evansville that was willing to show NC-17 films. It was a small two screen theater in the downtown area that had been there for years and I wasn’t too familiar with it so I recall going early in order to find a parking spot. I found one on the street because parking garages have always made me nervous and ID in hand I excitedly walked into the theater for the showing.
The first thing I noticed was that there wasn’t any real promotional material up for the film and it was listed on the marquee but in much smaller letters than the other film they had showing. Walking up to the ticket counter I noticed a hand written sign that said no one under 18 would be allowed into Henry and June which I thought was odd since it was rated NC-17. I asked for a ticket and showed my ID and was promptly denied admission for being just 17.
My initial reaction to this was disbelief and I pointed out that the rating was NC-17 not NC-18 but the rather pompous kid behind the counter refused to budge. I saw some movement in the back office and asked to speak to the management figuring the kid was just being difficult. A rather stodgy older gentleman came out to see what all the fuss was about and I attempted to explain the rating and how at 17 I should be let in. At this point I was starting to panic as the film was getting ready to start and I had to be at work afterwards so I couldn’t go to a later show.
To make a long story short I never got to see Henry and June on the big screen. The manager of the theater explained he knew what the rating meant but he had decided to make the cut off age 18 instead of 17. He couldn’t articulate why but his disapproving aura made it clear he didn’t want to show the film in the first place. I walked out of the theater totally dejected and it was gone after a week.
I saw the film when it hit video but I have always suspected that my opinion of it would have always been higher had I seen it on the big screen that afternoon. It’s funny but I don’t really remember much about it…just moments really with one image of Uma Thurman walking sadly down a hallway with some sort of puppet being the most vivid. Tim’s post makes me want to watch it again and I agree with him that a Special Edition would be very nice.

Tim Lucas Remembers Videodrome On It's 25th Anniversary

David Cronenberg's extraordinary Videodrome just turned twenty-five and Tim Lucas has posted some wonderful recollections from his time on the set over at his always essential Video Watchblog. Tim also mentions that the proofreading is done on his upcoming book on Cronenberg's masterpiece so hopefully it will be out fairly soon.
Thanks Tim for posting your vivid memories of what was obviously a very special experience.

Video Watchdog Issue 135

The newest issue of VIDEO WATCHDOG is out now and it is a splendid one. Issue 135 is the first since the publication of Tim Lucas' MARIO BAVA biography ALL THE COLORS OF THE DARK so it is a significant one.
The excellent Charlie Largent cover is probably one of the most terrifying in VW's history with its shot of the already legendary pale man from PAN'S LABYRINTH, and the back features a sweet photo of the beguiling Judi Bowker.
The issue is real winner with Tim's editorial, and the first few pages, focusing on the Bava book. A shot of Lamberto Bava and family holding the massive book is particularly touching.

Review wise there are several highlights. John Charles has a nice look at VACANCY and I am glad to see I'm not the only one who admired this little undervalued film. Sheldon Inkol has a long and excellent piece of the original BEDAZZLED which is very informative and entertaining. This was one of my favorite discs of the year so it is nice to see it treated so seriously. Kim Newman provides his usual number of well written reviews including a look at THE MONSTER SQUAD and and import of 1984. Tim himself is on hand to review several films including Jess Franco's WOMEN BEHIND BARS and a DARK SHADOWS DVD COLLECTION. Frankly all of the reviews this month were fascinating.
Douglas E. Winter's always great Audio Watchdog has a terrific portrait of the new Simon Boswell collection, along with some Morricone discs, and in Biblio Watchdog Kim Newman reminds me why I need to buy Stephen Thrower's NIGHTMARE USA as soon as possible.
Three items though make this issue particularly memorable. The long interview with Judi Bowker by Mark F Berry is very well done and beautifully written. I knew very little about this actress so this was an extremely interesting read.
I was also thrilled to see one of my favorite films of the decade finally getting some English language attention. While Tim Lucas doesn't value the final collaboration between Andrzej Zulawski and Sophie Marceau as much as I do, his thoughts on FIDELITY were extremely nice to read. I am really pleased that VW chose to cover it in their import section.
The real jewel of the issue though is Tim's take on PAN'S LABRINTH. Tim's six page look at the film is one of the best things I have read on Del Toro's masterful film, and it will definitely be an article I return to the next time I revisit this special work. I am also glad Tim took the time to salute actress Maribel Verdu for her work as not many critics bothered to. Verdu has now managed to give two of my favorite performances of the decade, in this film and Alfonso Cuaron's incredible Y TU MAMA TAMBIEN.
Video Watchdog 135 is currently available and is highly recommended.

Dylan On The Road

Tim Lucas has posted a really interesting personal review of his first Bob Dylan show over at the always great Video Watchblog. I read this with great interest as I will soon be seeing the same tour, and I plan on posting my thoughts on it here afterwards. This will be the third time I have seen Bob and I am extremely excited about it. The first time I saw him was transcendent, while the second was disappointing mostly due to the audience so I am curious to see what this tour will bring.
Opening up is Elvis Costello, who has been transcendent each time I have seen him and I expect nothing less from him later in the week...Zimmerman and MacManus on the same bill, I am expecting my mind to be blown.

It Is A Good Time To Be A Mario Bava Fan

Tim Lucas over at Video Watchblog has posted the specs for Anchor Bay's upcoming second volume of the Mario Bava collection. I dare say that I am even more excited about this set than I was Volume One as it includes a whopping nine films. The films are BAY OF BLOOD, BARON BLOOD, ROY COLT AND WINCHESTER JACK, 5 DOLLS FOR AN AUGUST MOON, and FOUR TIMES THAT NIGHT. LISA AND THE DEVIL and RABID DOGS will round out the fantastic collection and they will both be accompanied by their controversial companions features, HOUSE OF EXORCISM and KIDNAPPED.
I am extremely excited about all of these DVDs and am hoping specifically that the sound on BAY OF BLOOD (TWITCH OF THE DEATH NERVE) has been upgraded from Image's disappointing dvd version of it.
All the extras look promising. I am huge fan of Tim' commentaries so I can't wait to hear the new ones. I am also curious about whether or not the listed HOUSE OF EXORCISM commentary with Alfredo Leone is a new one or if it is indeed the one currently available with the lovely Elke Sommer.
The set is currently up for pre-order at some insanely cheap prices and it promises to be one of the great releases of the fall.
The link to Video Watchblog, is as always, just to the right.

Sort of connected. I just stumbled across a fabulous Italian site dedicated to the legendary Nicoletta Elmi and thought I would provide the link. These iconic shots, from TWITCH OF THE DEATH NERVE and BARON BLOOD, are both taken from the site and the link is over at my 'Can't Stay Away From' section.