El castillo de Fu-Manchu

Final outing in Fu Manchu-Christopher Lee series set in Turkey and based on Sax Rohmer's characters . Christopher Lee returns in this fifth chapter as the evil genius Fu Manchu who doesn't give up easily, and is out to destroy world or bent on conquering it . This time has designed a fantastic gadget to fleece water on oceans and he threatens world leaders by forcing a ransom . The baddies are Jose Luis Martin a Spanish actor usually playing the villain-role in Spaghetti Western and Christopher Lee, as always acting as a magnificent evil-doer . Nayland Smith-Richard Greene his perennial adversary and arch-nemesis takes the center of attention when is assigned the dangerous mission . Howard Marion Crawford of Britain's Home Office is the assistant of Nayland Smith , a Watson-alike . And of course, the Fu Manchu's daughter , habitually played by T Sai Chin, acting perfectly as a nasty murderous.

At the film there are action, adventures, thrills, sadism and exotic outdoors filmed in Estudios Cinematográficos Balcázar (Spanish producers are Alfonso and Jaime Jesus Balcazar), Esplugues De Llobregat, Barcelona, Cataluña, Spain (studio), Istanbul, Turkey and Parque Güell, Parque De Ciutdadella , Barcelona , Cataluña , Spain.

Fifth in Christopher Lee's Manchu series several pegs below his predecessors ; it is a bizarre blending of adventures, thriller and action with low budget . This exciting picture is full of Chinese killers , British adventurers, and nasty drug dealers . Weak performance by Richard Greene working below capabilities as Nyland Smith who in former episodes was best interpreted by Nigel Green , and Douglas Wilmer . The villain T Sai Chin stand out as Fu Manchu's daughter named Li Tang and the smuggler Jose Luis Martin overacting as an ominous bandit , furthermore turns up Burt Kwouk, Pink Panther-Sellers series's usual , in a brief appearance . The beautiful girls are two Eurotrash Goddeses as Maria Perschy and Rosalba Neri . This is the second collaboration between Jesus Franco and the producer Harry Alan Towers ( producer of the Fu Manchu's five movies ) and to be continued in several films . Well photographed by Manuel Merino , being recently fine remastering , though previous versions were awfully photographed.

Most critics felt this outing was one of the weakest entries along with ¨The blood of Fu Manchu¨ also directed by Jess Frank with similar casting , plenty of stock-shots , zooms and a Z-series style . The best installments were ¨Face of Fu Manchu(1965, Don Sharp)¨, and ¨Brides of Fu Manch( 1966, Don Sharp)¨ and the inferior ¨Vengeance of Fu Manchu(1967) . Only for completist , the outcome is one of the worst Fu Manchu movie ever made . Rating : Bottom of barrel , below average .

The fifth and final of Christopher Lee's Fu-Manchu outings – a planned sixth film was cancelled due to its overwhelmingly poor critical and commercial reception - and the second to be directed by schlockmeister Jess Franco. Played as a parody, 'Castle' might actually have been quite fun. Fu-Manchu is essentially reduced to a poor knock-off of a Blofeld (though I'm not sure he was ever much else). Lee actually brings his A-game here, having phoned it in previously in the series, lifting the ludicrous dialogue to the point where it's almost palatable, but everything else about the film seems to be mocking itself without knowing it. The production design is so camp it makes The Ipcress File look like The Spy Who Came In From The Cold. The action and violence is again tepid and clumsy (lest we forgot this is a Jess Franco film) and the plot manages to be confusing in spite of being threadbare. There are some babes thrown in, but this is a PG movie so, again, Franco fans expecting anything resembling titillation will be thoroughly disappointed. Unlike its predecessor, which is by far the more insipid and dreary of the two, 'Castle' has a handful of things going for it. One is Jess Franco in a supporting role, wearing a fez and dubbed to sound like… I don't really know. The score is totally derivative but actually rather nice. The wacky production design and multi-coloured fluorescent lighting add a lot of hammy fun. The attempt at seamless in-scene cutting between the various, disparate filming locations is endlessly amusing. Some of the dialogue is hilariously quotable, and played to the hilt by everyone involved. Frankly, though, the two high points of the show are the sizeable inserts from A Night To Remember and Campbell's Kingdom. While definitely a cut above its predecessor in some ways, I'm still struggling to give this any kind of recommendation.

The film that was to be the final entry in the new Fu Manchu series from international quickie film financier Harry Alan Towers made its belated theatrical appearance four years after it was made. In the USA, it played the bottom of the bill on the drive-in theater circuits. It crept into theaters sheepishly, victim of the commercial and critical thrashing given to its predecessor. The word in fan circles was that "Castle of Fu Manchu" was a new low, even worse than what had come before. It would be years before many of these same fans were able to see the film, which rapidly disappeared into obscurity until resurrected from its public domain limbo by the home video market. This film's non-performance at the world's box offices effectively killed the series: the contracted sixth Fu manchu film was never made.

On a technical level, "Castle" is a notch below even the low standards established by its predecessor. The shadows of the camera crew are visible in some scenes. Director Jess Franco's chronic zoom photography is more annoying and lazy here. Parts of the film are so technically shoddy, they barely achieve the level of the average home movie. The most professional scene in the film is a dolly shot of Maria Perschy crossing a Madrid street, and this was filmed by the second unit!

However, because its script is slightly better, this film can arguably be ranked above "Blood of Fu Manchu", although few fans would risk their credibility defending either film. At least "Castle" is concerned with Fu Manchu's current plot to conquer the world and does not pad out its running time with irrelevant subplots. What it does use for padding is stock footage. For its opening sequence, "Castle" lifts the entire climax of "Brides of Fu Manchu" and, incredibly, extends this sequence with footage of the Titanic from the 1958 film "A Night to Remember"! Using stock footage to supplement stock footage is either brashly clever or establishes a new standard of cheapness.

Perhaps the ultimate snub to the film came from the producer himself, who kept his wife Maria Rohm out of the cast.

Despite bad reviews and a low box-office success, this film must be considered a classic among movies. With a very low budget, it achieves what a lot of big-budget flicks never did: being interesting and funny to watch. With the acclaimed performance of Christopher Lee, his master counterpart, and some good directing, this film is a must-see.

It boggles the mind that anyone could possibly defend this movie as some sort of lost classic or claim that people only say it's bad because it was on "Mystery Science Theater". When *two* lengthy scenes in a movie consist largely of footage borrowed from better movies, and when both of those scenes could be removed without anyone noticing the break, you know that the director's aim was to exert himself as little as possible to get the required length of film in the can. Anyone here with a burning zeal to uphold the reputation of THE CASTLE OF FU MANCHU against its boorish detractors is almost certainly exerting more effort on the movie's behalf than Jess Franco ever did.

Nevertheless, the film is not among the all-time worst. Roger Ebert is correct when he says, "There's probably a level of competence beneath which bad directors cannot fall....they've got to come up with something that can at least be advertised as a motion picture, released and forgotten." It can be safely conjectured that this was just what Jess Franco wanted. The dialogue is passable, the acting (what little is needed) is serviceable, and occasionally the editing actually drums up something like tension.

So if no one aspect of THE CASTLE OF FU MANCHU is really *that* bad, why is watching the whole film such a chore? A bad movie can be difficult to watch, but an *aggressively* mediocre one can be worse. When Roger Corman cranked out his listless, paint-by-numbers adventures and fantasy movies, at least he had the excuses of working with zero budget, a cast of third-stringers, and shooting schedules permitting him maybe a week's use of a sound stage. I'm guessing that Franco's budget was scarcely greater, but he had a decent cast and enough freedom for location shooting in more than one country. Yet he produced a movie as uninspired and perfunctory as Corman did at his worst. What was Franco thinking?

The plot seems almost to go out of its way to abandon consistency. Fu Manchu kidnaps Prof. Heracles and then his doctor because he needs help to make the magic freezing crystals in quantity (crystals, by the way, which also perform the totally unrelated duty of a knockout gas), but then even though we see Heracles at the end refuse to help Fu Manchu, his refusal doesn't even slow Fu Manchu down, who initiates his freezing plan without apparent need for Heracles's assistance. We *had* seen Fu Manchu demanding a ransom earlier one (without bothering to name terms) but any idea of actually collecting on the ransom never comes up. Fortunately for the world Nayland-Smith shows up to foil his plot to freeze the ocean, although Franco can't be bothered to show us how he foils it. We see him beating up some flunkies and trying to contact London by radio, then suddenly there's a loud report and soon Fu Manchu is watching helplessly as everything blows up around him. I'm used to villain's fortresses improbably blowing up because the hero fires one well-placed shot or smashes one control panel, but THE CASTLE OF FU MANCHU gives us the only case of a villain's fortress exploding merely because the hero makes a long-distance phone call.

It's not as though Franco didn't have enough screen time to fill these plot holes. It's just that he decided to fill that time with lengthy establishing shots, walking, and creeping around dark corridors and tunnels. He also directs his actors to speak as slowly as possible and pause whenever possible. They have excuses, I suppose. Fu Manchu is "inscrutable", being an offensive Oriental stereotype, and Omar Pasha is probably stoned out of his mind on opium half the time. The police chief in Istanbul simply doesn't care and spends a good deal of his screen time sulking and telling people not to bother him. And why should he bother doing his job? He's played by Jess Franco, after all.

With so little actually happening in THE CASTLE OF FU MANCHU, we have to be content with watching the scenery. There are some beautiful background shots in the film, to be sure. Mostly, though, Franco traps us in Fu Manchu's lair. The quarter-hours slip by as the "action" takes us from one room or chamber to another and another, none of them very well lit, while Christopher Lee sits and looks smug, or stands up and looks smug, or even speaks while looking smug. Eventually a lot of people die and Fu Manchu disappears into the billowing fake smoke. Dry ice, Rosco fog, and blood, indeed.