La rose de fer

The beginning of the film - deserted town and railway station sequences are a delight. When the characters eventually enter the cemetery, 'The Iron Rose' gets somehwat tedious, with the heroes merely wondering amid the tombstones, uttering nonsensical lines from time to time. There's little for them to do there. The film was clearly made purely out of Rollin's love for cemetery ambiance,its decay and desolation: multiple shots of crosses and tombstones, strange characters who don't understand each other. Conversations they have lead nowhere and end abruptly. Rollin populates the cemetery with his favourite heroes: a vampire is seen entering the crypt, and a creepy clown bringing some flowers to one of the graves. The acting is rather questionable, also because the script doesn't provide the leads who actually seem to be quite capable actors, with any material to work with. Therefore their behaviour in the film seems really weird as they switch from nearly catatonic state to mad fury for no reason and then become mild and gentle again within seconds. Rollin never ever tells conventional stories with his films, instead he just films what he wants to see, and then puts it together in editing, as a result his subconscious is on display. There's no such thing as pace in his films, he doesn't try an give his films rhythm and structure via editing, he only uses it to put the scenes together (hence the frequent jarring cuts in most of his works). The director's aim is to put you in a particular mood, not to deliver some concrete message. Atmosphere is his ultimate aim, for Rollin admits his films are moving paintings. I was disappointed when I first watched the film, but I rewatch it often. Although lacking any dramatic tension, 'The Iron Rose' is a very beautiful and atmospheric film.

A very odd film from Jean Rollin, a horror film completely without traditional horror elements and threats - it's about getting lost! A young couple gets lost at a country churchyard one night and lots of panic, statues and typical Rollin-doomed romanticism follows. It's a sympathetic, sometimes beautiful films with an interesting idea that still could have been executed a lot better. Lack of pacing was to be expected but the bad actors are the biggest problem. Usually Rollin's use of non-professionals is greatly to his advantage - bored-looking non-actors delivering pretentious dialogue in a very stiff way is part of his aesthetic style, but here the actors actually tries to act and it doesn't really work. Still, a pretty good film with some memorable scenes (the lovemaking in the tomb with spinning cameras was great!). A film for friends of Rollin.

If you like gothic imagery about graves and old ruins, then you must see this film. Almost the whole movie takes place in an old cemetary. The plot is quite thin. Mostly the main characters just run and try to find a way out of the cemetary. So...this is a very usual thing to say about Jean Rollin films: not such great plot, but a lot of beautiful visual images. In my country there aren't such big and old cemetaries like seen on this film. Italy is such a gift to the world of horror, and I'm grateful for directors like Rollin to shoot movies in this kind of fantastic locations.

I was a little bit disappointed because I've seen more interesting films from the director before. The lack of plot and lack of actual horror/blood/monsters/something troubled me a bit. But since I bought the blu-ray I will definitely keep it in my collection and watch again later. Must have red wine, though. And perhaps a skull-shaped chalice.

More than a few European horror directors in the 70's went on to do hardcore pornography, and Jean Rollin in no exception. What differs him from the likes of Joe D'Amato, however, is that Rollin was a real, though neglected craftsman, and possibly one of France's finest auteurs. He injects each and every one of his horror films (save for "Zombie Lake", which is as much a Jess Franco film as Tobe Hooper's "Poltergeist" is a Steven Spielberg film) with such relentless atmosphere of death prowling every inch of the frame, and "The Rose of Iron" is where he excels. One of the finest poets of all things morbid and decadent - think the cinematic equivalent of Edgar Allan Poe, Rollin creates a minimalist, lyrical, unusual and disorienting beautiful ode to Death, that save for very few exceptions, has never been bettered elsewhere in the genre. The fairly simplistic, but multi-layered plot follows a young couple getting trapped in a cemetery after-hours, unable to find the way out as the girl slowly succumbs to madness. "The Rose of Iron" is a difficult film and thus not for everyone, as even Rollin fans might find themselves disappointed, as there is none of his trademark vampire girl-on-girl action nor is there the slightest bit of gore and camp. Nudity is minimal, and so is the cast, composed of only two actors for nearly it's entirety, with only one setting. Nevertheless, what one can simply describe as boring and uninteresting, I find be a cerebral, hypnotic tour-de-force, that keeps you glued to the screen from beginning to end, if you're willing to be bewitched by it's atypical quality. Although most Euro-horrors of it's time were criticized for poor acting, "Rose..." proves otherwise by having brilliant performances from Françoise Pascal and Hugues Quester as the young couple. They are one of the few Rollin performers who actually manage to enjoy a more successful career in French cinema, and rightfully so. They manage to carry the film brilliantly, even with the limited and often surrealistic dialogue. Quester evokes a genuine sense of paranoia as the film progresses, and Pascal's spiral descent into insanity is equally raw and visceral, in spite of the film's otherworldly nature. Pascal's acceptance and consequent embracing of the world of the dead very much represents Jean Rollin's own utopia - a twilight world that transcends time and space, where both the living and the deceased live among one another, to the point they become one. Rollin's passion for crumbling, ancient grounds also mirrors this ideal dreamland, and he makes the best out of this often-used setting, bringing it to life through some delirious camera-work that would make Argento envious, and an equally foreboding, experimental musical score by Pierre Raph. Overall, if you dare give yourself up to the unique, morbidly beautiful dream-world of France's most underrated filmmaker, "The Rose of Iron" is the film for you.

I cannot claim to be a connoisseur of the man's work so far, but personally I do not even nearly understand the enthusiasm that many of my fellow Eurohorror/cult fans seem to have about the films of Jean Rollin. Since this film is not one of his countless lesbian vampire flicks, but supposedly a Gothic chiller that many of Rollin's fans seem to regard as his masterpiece, I was looking forward to the film. Sadly, "La Rose De Fer" aka. "Rose of Iron" (1973) turned out one of the most nonsensical and insufferably boring European Horror productions (if one can even call it Horror). At least Rollin's lesbian vampire films were entertaining and made up for a lack of substance with gratuitous female nudity. "La Rose De Fer" is almost event-less. In one aspect, however, the film is phenomenal: The film is fantastically shot in a an old cemetery, which is arguably one of the most beautiful, eeriest and most fascinating Horror settings of all time. The film is visually overwhelming, thanks to this fantastic setting and a beautiful photography. Yet, a mesmerizing setting is no excuse for making a film in which NOTHING happens! The film begins when a creepy-looking guy and a pretty girl fall in love and make arrangements to go bike-riding the next day. They stop at an old cemetery, fail to find their way out and get locked in. As night falls, both of them begin to act strangely (or should I say: annoyingly)...

As said above, the film's setting is fantastic, eerie, and unspeakably beautiful, and I would certainly like to visit the depicted cemetery some day. This is arguably why so many people seem to love this film - it is visually flawless, the trees and the beautiful tombstones and grave statues create a wonderful, fairy-tale-like atmosphere. The stunning visual style may overwhelm, but I cannot imagine whose attention it is going to uphold for the length of a film. "La Rose De Fer" is only 77 minutes long, and yet it seems endless, since there are no real events, just a compilation of weird, but nonetheless boring nonsensical sequences. Everything the protagonists say is nonsense, everything they do is nonsense, and the fact that the nonsense takes place in a great setting only makes up for a tiny part of the boredom. There is no suspense, no blood and very little nudity to make up for the lack of a plot. The film is apparently based on a poem by Tristan Cobìere, which may be the reason that people call it 'poetic'. "La Rose De Fer" may be watched for the stunning visual style, but its lack of events makes it one of the most boring affairs I ever sat through. In fact, it took me three takes to watch the complete film since I fell asleep twice. I'm giving it a rating of 3 out of 10 ONLY for the fantastic visual style, otherwise the film is a disaster.