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  • Great idea for an article, it's certainly not the high point of his career but it is a very interesting one.
    Rock! Shock! Pop!

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    • Originally posted by Tom Clark View Post
      Excited (and more than a bit nervous to be perfectly honesty) to share this piece that I recently wrote that Diabolique Magazine was kind enough to host centered on the still controversial, final, digital period of Franco's work. As the title suggests, this isn't meant to be a surgical dissection of every film from '99 to '12, but rather an overview of what I personally felt were some key titles and why I feel this era is critical to the Franco story as a whole and with the benefit of hindsight becomes even more admirable. Hope you get something out of it.

      https://diaboliquemagazine.com/dr-fr...Uci8iyMm6IEt3c
      I did watch a good amount of his digital movies and found only Snakewoman (Tender Flesh less so) to be a consistently watchable film. That said, I didn't see the final few digital films and would love to check out the Alligator Ladies final two-fer.

      Well written article, by the way!
      Dark Horse 77
      Senior Member
      Last edited by Dark Horse 77; 11-09-2020, 07:13 PM. Reason: .
      "His lives inside of his own heart. That's an awful big place to live in."
      -Billy Bob Thornton, 'Sling Blade' (1996)

      "Some roads you shouldn't go down."
      -Billy Bob Thornton, 'Fargo' (2014)

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      • Originally posted by Tom Clark View Post
        Excited (and more than a bit nervous to be perfectly honesty) to share this piece that I recently wrote that Diabolique Magazine was kind enough to host centered on the still controversial, final, digital period of Franco's work. As the title suggests, this isn't meant to be a surgical dissection of every film from '99 to '12, but rather an overview of what I personally felt were some key titles and why I feel this era is critical to the Franco story as a whole and with the benefit of hindsight becomes even more admirable. Hope you get something out of it.

        https://diaboliquemagazine.com/dr-fr...Uci8iyMm6IEt3c
        Nice stuff, Tom. I have to admit that as much of a Franco film as I am, I struggle with those late-career digital movies. Nice to read something thoughtful about them, though. You've spurred me on to revisiting some of these.
        'You know, I'd almost forgotten what your eyes looked like. Still the same. Pissholes in the snow'

        http://www.paul-a-j-lewis.com (my photography website)
        'All explaining in movies can be thrown out, I think': Elmore Leonard

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        • Great read there Tom. I need to watch more later era Franco. Only seen Tender Flesh,Lust for Frankenstein and Mari-Cookie.

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          • Also thought this article was great--a nuanced take on some difficult films. I'm susceptible to the historical resonances that accrue over time--1980s SOV horror was mostly a miserable slog to me as a kid more or less contemporaneous to it, and now it plays with these added layers because the visual texture so viscerally invokes the feelings of an entirely different, now far distant, era, and I suspect Franco's One Shot work will (maybe already has--haven't seen these in years) fare similarly. I've been reading Thrower's second volume very slowly--luxuriating in it rather than racing through, with extended time-outs to (re)watch films as he covers them, then flashback viewings to wherever that leads--but I suspect when I reach this era, I'll do some revisiting too.

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            • Some dudes started a Franco podcast called The Franco Observer.

              https://redcircle.com/shows/e6a2b7f9...IUWos0VeNwBHaw
              Rock! Shock! Pop!

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              • Hey! Been a minute since I posted anything here. Recently had another Franco-centric piece of writing go up for Diabolique Magazine, perhaps it would be of interest to some here. The genesis of this was an excuse to talk about Franco's two “Cinematic B-Film Jazz” albums from 1997, The Crazy World of Jess Franco and The Manacoa Experience. However, along the way it grew into something else. So, leading up to the discussion on the albums is an exploration of the symbiotic relationship between Franco's films and jazz. Specifically the concept of the Franco “jazz film”, with looks at Venus in Furs (1969) and its soundtrack courtesy of Manfred Mann, Franco's composing of Succubus/Necromonicon (1968) and Paula-Paula (2010) to the music of Friedrich Gulda, Al otro lado del espejo (1973) as a similarly inspired “jazz film”, Franco's supply of pseudonyms sourced from jazz history and finally a deep-dive into the musical exploits of Franco and his “B-Band”.

                https://diaboliquemagazine.com/sketc...n-b-film-jazz/
                LA PASIÓN ESPAÑOL: THE EROTIC MELODRAMAS OF VICENTE ARANDA (1991-1999)

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                • From the Soledad Miranda twitter feed.

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                  Rock! Shock! Pop!

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                  • Giving Lorna The Exorcist another look. I saw this year's ago aware that it was a favourite of the true Franco connoisseur but was left cold by it. A rewatch has at least given me a new piece of favourite film dialogue; when the wife goes to answer the phone and has a brief conversation before turning to her husband and saying with some drama: "it's a sexy female but she refuses to give her name!' A sexy female? I'd better take that!

                    This is some pretty twisted shit. Never mind the crabs, Lorna keeps claiming to be Lina's mother but if that's true then Lina has been getting some serious Oedipussy in her dreams.

                    I'm starting to worry I've grown out of post 70s Franco... that's a disturbing thought. Those epically long shots of mysteriously furry crotches leave me more bored more than anything. It's always nice to tick off the Franco keystones like the female Renfield in this. I guess its a classic fairytale story given a soft/hard core spin but I might need more these days.
                    "Never let the fact that they are doing it wrong stop you from doing it right." Hyman Mandell.

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