Countess Perverse

Sylvia (Lina Romay) is lured to the private island of Count and Countess Zaroff (Howard Vernon and Alice Arno), where she becomes the latest unwilling participant in the aristocrats' sport: hunting humans (and then eating them).

Countess Perverse is The Most Dangerous Game as envisioned by prolific Spanish sleaze merchant Jess Franco. With the hunter and the hunted both women, and both stark naked during the hunt, this could have been a hugely enjoyable slice of exploitative trash, but Franco seems less interested in the battle to the death between humans than he is in gratuitous sex, the majority of his film consisting of long, boring softcore romps, with the action occasionally straying into hardcore territory. There's countless crotch shots, lesbian couplings, and lots of bumping and grinding, with even Franco regular Howard Vernon getting in on the action (not a pleasant sight!) - all shot in Franco's trademark blurry, erratic fashion. Of the 87 minute runtime, at least 70 minutes are wasted on this tedious 'erotica' before we finally get to the hunt, which is just as badly directed as the rest of the film.

As if Countess Perverse wasn't bad enough, Franco tacks on a ridiculous 'it was all a dream' style happy ending that it beyond ridiculous.

2/10 - both points awarded for the interesting architecture. If one can say anything about Franco, it's that he certainly had an eye for an impressive location.

La comtesse perverse, directed by Jess Franco, is a film that attempts to blend elements of eroticism, horror, and drama. It tells the story of a countess who indulges in sadistic sexual games with her lovers, leading to a series of mysterious deaths.

The film's cinematography is visually captivating, with its use of shadows and lighting creating a haunting atmosphere. The surreal dream sequences add an intriguing layer to the narrative, making the viewer question what is real and what is not. However, these strengths are often overshadowed by the film's weaknesses.

One of the major issues with La comtesse perverse is its pacing. The story meanders, taking too long to develop and lacking a clear narrative arc. This results in a disjointed viewing experience, which may leave audiences feeling disengaged. Additionally, some of the performances feel stilted and overly dramatic, detracting from the overall impact of the film.

Despite these flaws, there are moments where the film manages to capture the viewer's attention. The exploration of themes such as power dynamics and sexual violence, while controversial, does provoke thought. Furthermore, the film's score, composed by Bruno Nicolai, adds a certain level of tension and suspense.

In conclusion, La comtesse perverse is a mixed bag. While it has its moments of intrigue and visual appeal, these are undermined by its slow pace and inconsistent performances. It may appeal to fans of erotic horror or those interested in exploring unconventional themes, but it falls short of being a truly satisfying cinematic experience.

One loses hope and faith in mankind when presented with a film as completely and utterly dreadful as Les Croqueuses. One of the very worst Jess Franco efforts, this film is basically an unattributed remake of The Most Dangerous Game with nudity and hardcore inserts. Filled with the worst of Franco--overuse of the zoom lens, long boring sex scenes, and static set-ups--it is hard to understand how IMDb users could rate this so highly (two '9's, two '7's, two '6's, a '2', and my very generous '1'). For Franco or Howard Vernon completists only.

Back in the early 90s, as I teen, I ust to read Darkside Magazine, and Jesus Franco always took up a portion of it.

These movies were generally not in the public gallery, and to me they looked more like soft porn than horror. I would usually skip this section, but with birth of the internet I finally got around to watching them.

I can see why the British horror magazines gave Jesus Franco attention. For sure 50 percent is misogynistic porn. Cant even say soft porn, as there are real sexual acts on camera. Probably why hey never took off in UK at the time, as they would have been banned.

It is seldom taken from a female perspective, and indulges in male dark fantasies. Female on female intercourse, and close ups of hairy vaginas take up a good part of the running time of the movie. There is also sexual violence, but it presented in a erotic sexy sort of way. It is perverse, but in horror movie perspective rather tame. Sado masochistic would be best description, a theme that always seems to crop up in his movies.

What I like about these movies most is locations, architecture, mise en scène, dress wear etc. In these areas Jesus Franco is genius.

Better than hammer horror, or anything we were producing in UK in aesthetic sense, or at least on par with the very best.

His camera explores Spanish locations, not unlike he explores the female body with a passion, and the architecture and locations used are 2nd to none. Makes some interesting use of the wide angle lens in interior shots too.

I see influence movies like this may have had on Tim Burton/ David Lynch etc. From jutting volcanic rock faces, from islands emerging from the sea, to architectural marvels, his cinematography creates a kind of ethereal flow for the most part, which makes his movies easily watchable.

If sexual content is something that particularly offends you, then you wont like this movie. It could be easily accused of not taking sexual violence seriously, or eroticising it: but from a movie fans perspective, these movies are far from a dead loss.

It could easily upset feminists for example. Others may just find it slow paced and boring, with an over preoccupation with sex scenes. These criticisms would be certainly not be unfounded either lol.

This film was interestingly enough released the same year as Franco the dictators rule ended in 1975. This movie is in French but the location is the seaside town of Alicante according to IMDB. I been there and thought it was an awful place personally, but Jesus makes it look good some how. We are on an island or at sea for the most part, which probably helped.

With the camera hes almost a Kubrick. "The Most Dangerous Game (1932)", which this movie is said to be based on, is also one of my favourite early horror movies.

Jesús Franco got more guts, vision and talent than a legion of today's movie directors. His movies never bore me: Countess Perverse aka La comtesse perverse belongs for sure not to my most favorite list of his works but that flick is still far more entertaining than 90% of Netflix and Amozon Prime productions of our modern days. Countess Perverse: it's trash, it's sleazy, it's funny and it's dumb for sure, but in a good way.