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    Ian Jane
    Administrator

  • Ian Jane
    replied
    For those in the Pacific Northwest....

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  • Dom D
    replied
    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.

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  • Ian Jane
    Administrator

  • Ian Jane
    replied
    From the Soledad Miranda twitter feed.

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  • Tom Clark
    Senior Member

  • Tom Clark
    replied
    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/

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  • Ian Jane
    Administrator

  • Ian Jane
    replied
    Some dudes started a Franco podcast called The Franco Observer.

    https://redcircle.com/shows/e6a2b7f9...IUWos0VeNwBHaw

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  • Whit
    Junior Member

  • Whit
    replied
    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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  • Newt Cox
    Senior Member

  • Newt Cox
    replied
    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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  • Paul L
    Scholar of Sleaze

  • Paul L
    replied
    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.

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  • Dark Horse 77
    Senior Member

  • Dark Horse 77
    replied
    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, 06:13 PM. Reason: .

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  • Ian Jane
    Administrator

  • Ian Jane
    replied
    Great idea for an article, it's certainly not the high point of his career but it is a very interesting one.

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  • Tom Clark
    Senior Member

  • Tom Clark
    replied
    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

    Leave a comment:

  • fatboyslim142
    Senior Member

  • fatboyslim142
    replied
    Originally posted by Dark Horse 77 View Post
    Having finally gotten around to seeing Kino's release of Neurosis I must say I found it a little more involving that when I first watched it entitled as Revenge in the House of Usher some years back. It's a complete mishmash of three different filming dates (1982, 1984, 1988) and shows it. Certainly not prime Franco, but worth another watch and Tim Lucas' commentary is good as always. A real shame the workprint that's been recently found of most of the 1984 version couldn't be included.
    Hopefully someone releases it in an english friendly release in Europe.

    Leave a comment:

  • Dark Horse 77
    Senior Member

  • Dark Horse 77
    replied
    Having finally gotten around to seeing Kino's release of Neurosis I must say I found it a little more involving that when I first watched it entitled as Revenge in the House of Usher some years back. It's a complete mishmash of three different filming dates (1982, 1984, 1988) and shows it. Certainly not prime Franco, but worth another watch and Tim Lucas' commentary is good as always. A real shame the workprint that's been recently found of most of the 1984 version couldn't be included.

    Leave a comment:

  • BW Haggar
    Senior Member

  • BW Haggar
    replied
    Thanks so much - really glad you enjoyed my writing on 'The Shuttered Room'. And yeah, it's the distinctive locations that really help make that movie work. Would be nice to see it get a bit more love and/or a re-release.

    And yes, aside from all the other bad things it has wrought, I'm especially sad that the pandemic led to my annual trip to the seaside getting cancelled. :( Hopefully Weymouth and Portland Bill will still be there when things are, ahem, "back to normal".

    Leave a comment:

  • agent999
    Senior Member

  • agent999
    replied
    Originally posted by BW Haggar View Post
    I'd been planning to follow this up in 2020 with a visit to Cascais in Portugal (along with a slightly less glamorous 'These are the Damned' location tour to Weymouth in Dorest), but sadly those are off the menu for the time being.
    Off topic, but I enjoyed reading your thoughts on The Shuttered Room. I have a soft spot for that film as I've drunk in the Shipwright's Arms at Oare Creek a few times over the years. Giant fucking rats there!

    I went to Weymouth five years ago, there's still a lot recognisable from The Damned. Plus good fish and chips.

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