Prolific director Jesus Franco's first feature film is an episodic comedy-fantasy concerning a pair of girls on vacation from the University of Madrid. Isana Medel and Mari Tere Penella star as Maria and Pili, who buy an old car and drive off into the countryside, imagining many fantastic adventures to enhance their relatively uneventful journey. Several bizarre fantasies follow, involving gangsters, singers, and even a mysterious vampiric figure whose exploits include Arabian and jungle adventures, Indian encounters, and a stint as Jack the Ripper. Slapstick Spanish comedian Antonio Ozores appears in several roles, and Franco regulars Maria Luisa Ponte, Pablo Sanz, Antonio J. Escribano, and Rufino Ingles also appear.
The movie begins by showing us some poor chap dying at the hands of goofball simpleton Baltasar (Santiago Segura) and two dwarfs. Yep, this is a Jess Franco film. Then the movie shifts focus to the Spanish rock/punk band The Killer Barbies performing at some small venue. Why is there a spelling change in the title of the film? Perhaps Ken and Barbie threatened to sue. Anyway, as the group bangs out one of its Ramones-esque tunes on stage one fact becomes glaringly obvious. The lead singer of the group, a young lady known here as Flavia but whose real world name is Silvia Superstar, is blazingly hot. The music isn't too bad, either. Then disaster sets in as the band finishes performing, loads up the requisite van, and heads off into the night destined for their next gig. Banal small talk follows for several minutes, obviously in an attempt to provide the necessary "character" development so we will feel something other than pure joy when the sauce starts to flow later on. With teeth grinding predictability, the van breaks down out in the middle of nowhere
One of the most popular and copied movies of all time, The Most Dangerous Game, gets a erotic remake by sleaze director Jess Franco. The idea sounds very daring and dangerous, but thankfully, The Perverse Countess is a complete winner! From the very hot girls on display (Lina Romay is pretty much naked through the whole movie... Shocking I know!) to the exciting horror elements, this one is a stylish masterpiece of the genre. The camera moves are pretty wild, and the locations are beautiful. The music score is very nice to listen at first also (although it gets a bit repetitive by the end...) The cast is pretty damn awesome also, full of Franco regulars. As the rich owners of the island where the game is played, Alice Arno shines in the role of the evil countess, while Howard Vernon plays her husband, in his usual charming self. The impossibly gorgeous Lina Romay plays the latter victim of the eccentric couple, while Tania Busselier from Ilsa: The Wicked Warden shows up to get naked somewhere.
Daughters of Darkness meets Female Vampire. How in God's name could you mess up a film with heavy close-up nudity and much lesbianism? Here's how. Make your film look like the world's worst vacation video, add some horrible in-camera effects and loop the same crappy song 87 times through the film. Please Jess I'm begging stop using the camcorder and pick up a Panaflex. And while your at it write a script. Unintentional laughs abound
Lina Romay plays Tarantula, a nightclub performer whose act essentially involves writhing around naked on a web. She seduces female audience members and takes them back to her place in order to string them up on more webs and, sometimes, turns into a spider with a human head.
Abigail Philipps martwi się losami swojej siostry, która przebywała w klinice psychiatrycznej. Żeby tam się dostać musi przyjąć się na pacjentkę ów szpitala. Jednak, gdy już tam wchodzi, jej życie diametralnie się zmienia. Oznajmia sobie, że to będzie najtrudniejszy czas w jej życiu. Wszystkie tortury są nie do wytrzymania i w dodatku nie można się stamtąd wydostać, ponieważ na straży stoi bezlitosna Greta. Jednak Abigail będzie próbować różnych sposobów, żeby się stamtąd wydostać...
The Killer Barbies (Silvia, Billy, Muerte, Jeyper-man, and guest Bela Blasko) are playing at Tivoli World, a Wild West park in Spain. Komrade Irina [Lina Romay] and Komrade Ivan Ivanovich [Viktor Seastrom] arrive from Transylvania, bringing with them the "dead" Count Dracula [Kike Sarasola] to be placed on display. After hearing the Killer Barbies, however, Dracula awakens, falls in love with Silvia (who looks like Charo on a bad hair day), and decides to make her his own. Realizing that they have a vampire on their hands, park owners Pepe Morgan and Martin Fierro call in the world famous, blind vampire hunter, Dr Seward [Dan van Husen]. While Seward tries to track Dracula with his nose, Dracula manages to knock off a few cast members -- a faux Dracula, Bela, an acrobot with orange hair, and both Komrades Ivan and Irina. When Dracula tries to bite Silvia during a performance, Dr Seward decides to use Silvia as bait. He sends her out walking alone. When Dracula follows, they pursue and stake him. Dracula metamorphs into a white rabbit and hops away.
A young doctor kills himself after a medical committee terminates his research into human embryos, considering it too inhumane. His wife then seeks revenge on those who drove her husband to his death by luring each member of the committee into compromising situations and then killing them one by one.
In Puerto Rico, a down-on-his-luck private detective is hired by a woman to take compromising photos of her husband, a notorioous nightclub owner. After he finishes the job, he finds himself hauled in by the police, who inform him that the nightclub owner has been murdered... and that he is the prime suspect.
"Fury in the Tropics" is Jess Franco's ninth women-in-
prison film proper, although many of his other 150+ films
have women-in-prison-type themes and situations. Lina
Romay stars as the proverbial prostitute with a heart of
gold who lives and works in a bamboo-built brothel,
regularly servicing the freedom fighters who stroll
through. She falls in love with one of her customers, and
she and one of her sister call girls are sent to a women's
prison, where they are promptly stripped and whipped in
the prison yard in front of the other prisoners -- the two
are whipped with a riding crop more than fifty times!
Shortly thereafter the women are stripped and hung by their
wrists and then have their breasts and private areas poked
by a sword. The women plot their escape, but cannot be
saved from an incredibly brutal gang rape, even vicious by
Franco's standards and even more protracted than the similar
scene in Franco's WIP film "Ilsa, the Wicked Warden." Yes,
Jess certainly knows how to please his audience.
This film was shot in the early 1980's during a very low
budget period in Franco's career, and as a result we really
do not see one convincing prison set in this entire film,
some of which looks as though it could have been shot in the
back lot of a store or a mall. Nevertheless, no one who is
going to watch this film is looking for the scenery. The
cheap, sadistic WIP thrills are here in abundance, and unlike
"Sadomania" or even the four-way female sex scene in "Women
in Cell Block 9", there is absolutely no humor in "Fury in
the Tropics", just torture, rape, a fat dictator general, a
vicious lesbian wardress, and heavy drama. The acting is also
quite good. Fans of Franco's other WIP films should not miss,
though be aware that the alternate version of the film,
entitled "Outlaw Women", is missing most of the prison S&M but
has an extended escape ending not in the main version. A
hardcore version, "Orgasmo Perverso", supposedly exists, but
I don't believe it has ever turned up on video."
Lina Romay, best known as Jess Franco's wife and cult actress, directed this one. Franco wrote the story, the music, and did almost everything else. So what can we expect?
Well humor has never been absent from Franco's work, so be prepared to laugh. I've seen the spanish version so I didn't get all the jokes, but overall the hardcore sex mixes well with the touching comedy moments Romay has directed.
A direct parody of Falcon Crest, this movie is brilliant porn, not so exciting but still very interesting. I've even spotted one of the zombies of VIRGIN AMONG THE LIVING DEAD during the scene where Sado Sommers is raped.
And when you'll find out what's the secret behind Falo Crest's excellent wine, your wine drinking evenings will never feel the same...
Italian spoken, hardcore import version of aka 'Al Otro Lado del Espejo/Lo Specchio del Piacere' the obscure 1973 film from Jess Franco. When Ana (Emma Cohen) decides to get married, her lesbian sister Marie (Lina Romay) commits suicide by plunging a dagger into her chest. From that moment onward Ana feels the impulse of killing all the men who intend to have a love affair with her while under the spell of her sister's ghost. This is the rarely seen Italian spoken hardcore version of the film and contains an abundance of hard lesbian action. This uncut/hardcore version has never been available in English language. This version of the film is a definite must for any true Jess Franco fan. With Emma Cohen, Lina Romay, Howard Vernon, Alice Arno, Francoise Brion and Philippe Lemaire.
16-year-old Maria is forced into Serra D'Aires convent, secretly run by Satanists. Her confessor
is in collusion with the Mother Superior. Maria is tortured, forced into sex with men, women, and
the horned Devil, and told that it's all a bad dream. She writes a letter to God, and a Knight
rescues her, only to fall into the hands of the Inquisition, put on the rack, and condemned to
death like Joan of Arc.
Using new footage and out-takes ripped from his other One Shot Productions films, director Jess Franco attempts to make a Marquis De Sade anthology but somehow manages to cobble together incoherent bits of sexiness, crassness, ugliness and tedium. Quite obviously the least effort amongst his One Shot Productions films, it's widely understood that this is the one film Franco made for his American company that had no real involvement from his new producers - and it shows. Without the steadying hand of producers Peter Evanko or Kevin Collins, Franco is left to his old devices of zoom lenses on flabby butts and repetitive loops of images and sounds. There's no story, just images set to music that apparently was supposed to suggest a mood. Instead it merely suggests that now is a good time to take a nap.
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