Le amanti del mostro

The infamously ill-tempered German actor Klaus Kinski described pretty much every film he ever made as "a piece of sh*t". He was obviously off-base with stuff like "Aguirre, the Wrath of God" or the classic spaghetti Western "The Great Silence". Here though he was pretty much right on the mark. This is a very low-rent version of the Jeckyl and Hyde story. Kinski plays a retired doctor and jealous husband who returns with his wealthy wife (Katia Christian) to her family castle. He discovers his late father-in-law's basement laboratory, and angry at the attention his wife is paying to an old boyfriend, starts messing around and somehow turns himself into a slobbering, sex-crazed monster! Kinski is WAY over-the-top with a hysterically eye-rolling, pancake-makeup smeared performance. His victims, of course, are pretty much all attractive young women, generally ranging from scantily clad to completely nude. Gorgeous Dutch actress Katia Christian (from "The Designated Victim") also models her birthday suit for about ten minutes near the end. But the abundant female nudity here,while somewhat enjoyable, is the equivalent of spraying French perfume on a rancid turd.

The director Sergio Garrone was a hack among hacks when it came to Italian directors. Like fellow hacks Bruno Mattei and Rino DiDilvestri, Garrone later got involved in the vile Italian "Nazi sexploitation" genre, but unlike the other two he couldn't even pull off vile successfully--his entry, "SS Experiment Camp", was laughable and boring (albeit still banned in Britain for some reason). It occurrs to me that given the nepotism in the Italian film industry Sergio Garrone might be related to the talented, modern-day Italian director Matteo Garrone (of "Gommorah' fame), but if that's the case the apple fell far, far from the tree. I'd recommend this only to fans of unintentional comedy or those who want to see a particularly mugging performance by Kinski or a especially undraped performance by Katia Christian.

LOVER OF THE MONSTER is the English translation of the title. This movie is somehow linked to another movie starring Klaus Kinski, called THE HAND THAT FEEDS THE DEAD. Supposedly both films use some of the same footage although I don't remember seeing it. In both films, Kinski plays the heavy. No surprise there. I had read about both LOVER OF... and HAND THAT FEEDS...for years and was excited when I discovered they were both going to be available on Bluray. The label wisely released THE HAND THAT FEEDS THE DEAD first. Watched it. Enjoyed it. Very happy to own it. Satisfying 70s Italian horror. No Oscar winner but it definitely gave me what I expected from it. Then, I saw that LOVER OF THE MONSTER was being released by the same label. Now, I was warned by reviewers that LOVER OF THE MONSTER was painfully short of not only monsters, but blood, gore, and pretty much anything to set it above a made for TV movie. I figured those poor reviewers had seen some abridged version on DVD or VHS and that surely there was blood, gore and horror, if not a monster and would certainly be gloriously restored for this Bluray release, right? Afterall, THE HAND THAT FEEDS THE DEAD, allegedly made by the same people, had blood, gore and surgery scenes enough so that there was no doubt as to why Carlo Rambaldi was credited on that film. Rambaldi's handiwork is highly visible in HAND THAT FEEDS THE DEAD. He is also credited on LOVER OF THE MONSTER. What he did on LOVER OF THE MONSTER is anyone's guess. Little, if any, blood. No gore. Definitely no monsters...at least none created using latex rubber suits or makeup appliances. You have Kinski supposedly turning into a monster running around making weird faces but he still looks about the same as when he is not a monster. Makes me wonder exactly what Rambaldi did on this film. I've searched the internet and can find no behind the scenes stories about LOVER OF THE MONSTER. I don't know if makeup effects were created but edited out for some unknown reason or if prosthetic makeup was created to be worn by Kinski and he refused to wear it. Maybe some stuff was created and the schedule was too tight and they had no time to film it. I guess I'll never know, although a Making of LOVER OF THE MONSTER could only be more interesting than the actual movie. All I can say is; unless you are a fan of seeing Klaus Kinski make faces while running through the woods, there's really not much here to hold your attention. There's definitely more lover than monster here but really not much of either. No real excitement either. Unless your curiosity demands you watch this (as happened to me) or unless you are a Kinski completist, I suggest you skip this one and watch THE HAND THAT FEEDS THE DEAD instead. You'll get Kinski who is still an evil scientist and some hot women and a decent amount of cool, if not completely convincing, blood, gore and makeup effects by Carlo Rambaldi before he started working with Spielberg.

In hindsight, this obscure, meaninglessly-titled Italian horror movie is to "Dr. Jekyll And Mr. Hyde" what LADY FRANKENSTEIN (1971) was to "Frankenstein" but, as an erotic version of the classic tale, it is a long way behind Walerian Borowczyk's brilliantly delirious DOCTEUR JEKYLL ET LES FEMMES (1981). The atrocious print displayed on this bootleg DVD – replete with fuzzy video and annoyingly processed audio as if it had been recorded under water! – destroys any attempt at the Gothic feel the film strives for but, in truth, the whole production is a mind-boggling hodgepodge of every horror cliché in the book with elements of Frankenstein, Jekyll and Hyde and Jack The Ripper (whom star Klaus Kinski would play, far more successfully, for Jess Franco a couple of years later) thrown into the mix…not to mention an impotent villain given to raging fits of jealousy, indigestible dollops of Freudian self-analysis (usually uttered by a wimpish Kinski while lounging from one sofa to another), a rival doctor vieing for the attentions of the mad scientist's neglected wife, gore (the gratuitous vivisection of a dog), not one but two distinct tramps convicted of the murder spree (lazy writing, if you ask me!), hilarious character names (Nijinsky, Polanski, Boris, Ygor, Ivan Rassimov), etc.!

Having said that, Kinski – who is unusually subdued here - is always worth watching but, while the movie is mostly dull, it is occasionally alleviated by the vivid colors and two effective sequences: Kinski's savage attack on his wife while transformed and the conscience-stricken flashback to his past murders. The film's final image is arresting as well, the music score is rather nice and Katia Christine makes for a lovely leading lady (almost like an older Scarlet Johansson) and the intermittent bits of nudity certainly don't hurt any. Still, all the frenzied cutting and odd camera angles prove laughable rather than laudable; Kinski's make-up only extends to close-ups of his bulging eyes and, what's worse, although a serum is concocted, his transformation seemingly occurs when he comes in contact with a certain laboratory lever (what the f***?)…but what about the other times (unless his jealousy attacks bring on the mutation)? For the record, writer-director Sergio Garrone is brother to actor Riccardo (best-known nowadays for portraying God on a slew of coffee commercials on Italian TV!) and THE LOVER OF THE MONSTER itself was simultaneously filmed with another obscure international potboiler, THE HAND THAT FEEDS THE DEAD (1974), with most of the same cast and crew participating in both productions.

The lesser of the two Turkish Sergio Garone movies but it has some great stuff in it and Kinski kicks ass as always. Kudos to Full Moon for digging this one up. It's been hard to find and it looks great on the Full Moon channel. If you're a Kinski fan you'll want to catch this but make sure you see the Full Moon version because it looks like ass in all the bootlegs out there.

This was made at the same time as Garrone's Hand That Feeds the Dead, starts mainly the same people, with scenes occurring in the same place. It's also just as boring as that film, and I had to force myself to watch it to the end. Hand That Feeds the Dead had a kind of mad scientist thing going on, whereas this one goes for the Doctor Jekyll and Mr Hyde deal, which is a bit of problem as Klaus Kinski kind of looks like Mr Hyde in real life. So how can we tell when Klaus has turned into a sex-crazed killer? His shirt is a bit dishevelled and he looks a bit tired.

Klaus and his wife are drifting apart, it would seem, and have moved into a new house (giant castle) in order to repair their relationship. His wife hits it off with the local doctor so in his despair Klaus somehow manages to turns himself into an insane killing machine, courtesy of something he finds in a hidden laboratory inside the castle. Was it a book? It was hard to maintain interest in this one.

Don't get all excited about that sex-crazed killer part either, because sex and gore are at the bare minimum for this one. Kinski rampages through the landscape, attacking people and gurning for the camera (i.e just acting like Klaus Kinski), while we are dragged kicking and screaming through a sub-plot about a homeless man accused of carrying out the killings, and a whole load of scenes between Kinski's wife and the doctor that make the entire one-hour, twenty-three minute film seem like an eight hour miniseries. This is nineteen seventy four, Garrone, which you seem to remember ten second from the end, judging by the downbeat ending.

Sergio Garrone, who started off with the pretty good Django the Bastard, would sink much lower by giving us the Nazisploitation film SS Experiment Love Camp. This one nearly de-railed the 'watch all the Euro-films' project.