I desideri erotici di Christine

O.k...so if you watch this movie expecting Tom Savini type zombies and lots of hot sex you will be disapointed...this is more like an art house surreal-dream/nightmare flick.Check out The Queen of the night's beautiful haunting song.Definitely a movie for the midnight hour.Great stuff,but only if you have the original uncut version!!

This was only my fourth Jess Franco movie: not as satisfying overall as THE DIABOLICAL DR. Z (1965), not as thematically compelling as EUGENIE…THE STORY OF HER JOURNEY INTO PERVERSION (1969) – but it has, perhaps, the most haunting quality of all. So far, only LUCKY THE INSCRUTABLE (1967) has proved disappointing – and, therefore, I look forward to acquiring some more of his remarkably prolific work.

As always Franco did not have much of a budget to work with: consequently, the film is visibly cheap (though I must say it suits the mood perfectly!) and his direction suffers for it, given as he is to an over-use of zoom shots, but still manages enough inventive touches throughout to draw one into the proceedings. Bruno Nicolai's score, though not as catchy as his EUGENIE soundtrack, is certainly varied and weird enough to be quite effective. The film also makes good use of natural locations – the chateau, the forest, the pond – which give it a distinctly European look.

The plot (what little there is of it) is quite bizarre and deliberately ambiguous but the surreal, dream-like quality it creates – effectively balanced by macabre touches of comedy – is wholly infectious, making the film an enjoyable one despite its shortcomings.

The casting is an integral part of the film's success: Christina von Blanc is simply gorgeous, and a more than adequate heroine in the circumstances; Britt Nichols' contribution, then, can best be described by these three adjectives: beautiful, mischievous and memorable; Anne Libert is yet another highly attractive lady but her role, even if appropriately death-like, is a little too sketchy; Howard Vernon lends the film a certain style and a dash of sophisticated humor it would otherwise have lacked (this is perhaps the most impressive performance by him I have seen yet, despite brief stints in Melville's BOB LE FLAMBEUR [1955], Lang's THE THOUSAND EYES OF DR. MABUSE [1960] and Godard's ALPHAVILLE [1965]) – also, it is rather amusing to see gay Howard Vernon being surrounded by so many lovely women who, more often than not, have no clothes on!; Paul Muller is again underused - as he was in EUGENIE - as well as (necessarily) cramped here, though he manages to make his presence felt throughout the entire film; Jess Franco himself is funny and oddly endearing as the mute servant, a potentially irritating character.

I would like to say something about Franco's use of nudity: while frequently gratuitous, it is also undeniably striking (at least judging by this film and EUGENIE) – and watching, say, Christina von Blanc asleep or taking a swim in the nude is not simply a case of voyeurism because the images in themselves are beguiling on an artistic level. That said, the S&M lesbian scene between Nichols and the blind girl is quite a head-scratcher! In my opinion, Nichols' seduction of von Blanc is the film's most potent sexual image.

I have read a number of reviews on this film as well as some of the discussion in connection with it on other boards, where a lot has been made of the fact that the version featured on the Image DVD may not be the definitive Director's Cut after all! Francesco Cesari mentioned a misplaced scene (Christina's 'death'), but all I can say is that it did not jump out at me on a first viewing (of course, Franco's work is open to several interpretations) – though it is true that Anne Libert, the 'Queen of the Night', had no reason as such to get undressed! On the other hand, the ebony phallus did come (oops, no pun intended!) out of nowhere: the way it was introduced, strangely enough, reminded me of the first appearance of the monolith in Kubrick's 2001: A SPACE ODYSSEY (1968) - as well as bearing an obvious similarity to a particular ornament in his A CLOCKWORK ORANGE (1971)!! Also, the odd repetition of scenes with Muller 'calling' von Blanc felt like padding – at one point, this occurred three times in a row (!), i.e. until Muller himself explained that he was being forced to do so by Libert, who is really after the girl. But, as a general rule, I was satisfied by the film – without leaving me asking for more, as it were. Apparently, the longest existing version of the film runs 105 minutes (often mentioned by Robert Monell) but, at that length, the film's quirky charm is bound to flounder – especially in view of the distinctly graceless added zombie sequences.

I am of the opinion that Christina (much like Lisa in Mario Bava's LISA AND THE DEVIL [1972]) is already dead at the beginning of the movie, only she doesn't know it – sort of a wayward ghost – and her family's ploy (the reading of the will) was only a means of reclaiming her. The cut back to the tavern near the end, I guess, means that Christina maybe dreamt the whole thing but, then, her 'return' to the chateau immediately afterwards, in a way, indicates that she has now accepted her death – as relived in her dream state – and is therefore perfectly willing to be led into the swamp by the Queen of the Night, followed by the rest of her family now that their 'job' is done. I'm sure that with repeated viewings, I'll be able to read more into it and, perhaps, even discover flaws I would not have immediately noticed!

As for the DVD itself, Michael Elliott has said that the Image transfer is the best he has seen; well, to my eyes, it is certainly nothing earth-shaking. There is a frequent hiss on the soundtrack, but the audio is otherwise serviceable – and, thankfully, the original language is available. The deleted scenes are just terrible – I know I don't ever want to watch the dreaded Jean Rollin cut of the film, a travesty on the lines of THE HOUSE OF EXORCISM (1975) – though I still wish that all of the 'extra' footage could have been assembled for this edition. The theatrical trailer is interesting for a number of alternate shots and at least one curious outtake. Tim Lucas' liner notes are typically reverent but also reasonably knowledgeable of the film's chequered history – and I agree with Francesco Cesari that Lucas' personal interpretation of the events of the film are entirely valid.

Finally, Robert Monell's description of A VIRGIN AMONG THE LIVING DEAD's partial remake – THE OTHER SIDE OF THE MIRROR (1973), admittedly a far more poetic title – is indeed enticing and, hopefully, this too can be released in future (depending on available elements) by Image themselves, Blue Underground or Synapse, all of whom have demonstrated a commitment to Franco's films by preparing a handful of titles in top-quality DVD editions.

It's a shame that most people here seem to have seen a cut version of this film, because the actual original is absolutely beautiful, and belies the criticism that Franco was a complete hack. It is a perfect example of what can be achieved in the horror genre with an almost zero budget in what was probably the director's busiest period. However most people seem to have seen the US release print, which also circulated on video in the UK in the 80's under the title of `The Invisible Dead'. This film was marketed as being a successor to Fulci's `Zombi', and basically was padded out with scenes from Jean Rollin's `Lake of Zombies' (shot almost 10 years after Franco's original film) and had all nudity removed.

There is another version which circulated with hardcore black mass footage featuring Franco regular Alice Arno and a host of stunt doubles for Vernon, Nichols and von Blanc.

The only video release of the original film at present is on Redemption, featuring a couple of nude mass scenes, some lesbian vampire sucking, a bizarre scene where Christina knocks over a giant phallus and an effectively hypnotic score from Bruno Nicolai. The UK version is missing the rather graphic rape scene present in the Benelux versions.

Christina von Blanc never unfortunately appeared in any other Franco films – in fact only appeared in a couple of others including the giallo `L'Etrusco uccide ancora'. The delightful pairing of Britt Nichols and Anne Libert occurs again in his bizarre `Erotic Rites of Frankenstein' and `Les Demons', amongst other films of the period. If you are interested in Franco, this is one of his best of the period, very atmospheric and deserves to be seen in its original version.

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.

"A Virgin Among the Living Dead" is an unjustly overlooked gem from Franco's mid-period, wherein he fully embraced erotica and dreamlike narratives.

I forget who it was - maybe Truffaut, Maybe Godard - who said that the best way to criticise a movie is to make another movie. "Virgin" functions like a critique of Franco's more famous "Vampyros Lesbos". That one too had a more than average dollop of eroticism and dreaminess. However, in that movie, the eroticism failed to do anything, and the dreamlike nature of the story seemed employed to mask the fact that the script didn't make any sense.

I hazard a guess that the huge, overwhelming majority of movies given the "dreamlike" tag are such pictures. "Dreamlike" is just a polite way of saying "nonsensical". "Virgin Among the Living Dead" is a rare example of a movie that achieves its dreamlike atmosphere, and its eroticism. In so doing it is like a living rebuke to "Vampyros Lesbos". The only thing that movie had over this was the presence of Soledad Miranda. The main actress in "Virgin" is beautiful but doesn't have the hypnotic quality Miranda effortlessly possessed.

The plot is sparse and rather typical of Eurohorror. A young girl comes to stay with her estranged family in a small rural community after the suicide of her family. Yes, she spends the night in a hotel first, where she mentions where she is going and gets a predictable reaction - it really seems like practically all Eurohorror movies begin this way. However, in this case the effect is different as the hotel isn't crowded with people who shut up as soon as she mentions where she is headed - rather, the hotel is empty save for the hostess. This subtle difference foreshadows Franco's off-kilter approach to his familiar material.

Any fans of Eurohorror know that the gods of the genre - Fulci, Argento, Franco, even Joe D'amato - had a hidden reserve of talent they used to breathtaking effect early in their careers, before moving on to bargain basement slop for the lion's share of their working lives. "A Virgin Among the Living Dead" is like a call back to the early days of the '60s, where Franco was a promising director, even in the minds of mainstream critics. It is extremely well shot, and subtly effective - absent is the violence the director would become known for.

It is a must see for Franco, and Eurohorror, fans.