A dash of Franco, a generous helping of Rollin
Take a dash of Franco and layer in a generous helping of Rollin and, viola!, you have A VIRGIN AMONG THE LIVING DEAD.
This is a work of atmosphere and subtle eroticism. Although it is not a zombie film, death -- and those who wear its cloak -- is its central theme.
Christina von Blanc, an achingly beautiful creature, plays Englishwoman "Christine" who journeys to the rambling estate of her late father (Franco regular Paul Muller) for the reading of his will. Her stay is a nightmarish one as she is harassed by several socially challenged relatives (Howard Vernon being one), a muttering Igor (Franco himself) and local miscreants.
Not as technically accomplished as Franco work such as THE AWFUL DR. ORLOFF or even DR. ORLOFF'S MONSTER, this piece is, nevertheless, dream-like and filled with mood and unease. Bruno Nocolai's score is quietly evocative and Jose Climent's photography is low rent but brimming with inspiration. The rural locations are gorgeous, too.
Typically, the dramatic revelations are hackneyed and not everything makes much sense, but that is Franco's way, and if you can't accept that, steer clear of his fascinating, uneven oeuvre.
Ms. von Blanc makes every one of her screen moments sparkle and comes closest to possessing the magical aura of the late, great Soledad Miranda, Franco's most exquisite leading lady and muse.
This is a work of atmosphere and subtle eroticism. Although it is not a zombie film, death -- and those who wear its cloak -- is its central theme.
Christina von Blanc, an achingly beautiful creature, plays Englishwoman "Christine" who journeys to the rambling estate of her late father (Franco regular Paul Muller) for the reading of his will. Her stay is a nightmarish one as she is harassed by several socially challenged relatives (Howard Vernon being one), a muttering Igor (Franco himself) and local miscreants.
Not as technically accomplished as Franco work such as THE AWFUL DR. ORLOFF or even DR. ORLOFF'S MONSTER, this piece is, nevertheless, dream-like and filled with mood and unease. Bruno Nocolai's score is quietly evocative and Jose Climent's photography is low rent but brimming with inspiration. The rural locations are gorgeous, too.
Typically, the dramatic revelations are hackneyed and not everything makes much sense, but that is Franco's way, and if you can't accept that, steer clear of his fascinating, uneven oeuvre.
Ms. von Blanc makes every one of her screen moments sparkle and comes closest to possessing the magical aura of the late, great Soledad Miranda, Franco's most exquisite leading lady and muse.
- fertilecelluloid
- 20 ago 2005