A Virgem e os Mortos

Many of the comments here are written about the hacked up version of 'A Virgin Among The Living Dead' so ignore them. This is actually a very watchable movie, not the best Jess Franco I have seen, but still above average. More an erotic fantasy than a horror movie per se, it will appeal to fans of 60s/70s Euroschlock like 'Nude For Satan' and Franco's classic 'Vampyros Lesbos'.

The stunningly beautiful Christina von Blanc plays the lovely innocent Christina Benson, who is summoned from boarding school in England to the reading of her father's will in a spooky castle. She never really knew her father, or had previously met her bizarre relatives who live in the castle, which according to the locals is deserted. It doesn't take much to work out her family's "secret", the title tells all. Christina however, is a bit slow to catch on. She spends most of her time wandering around in a daze, often naked (great news for us viewers!), and increasingly unable to tell dream from reality.

There's not much action in this movie, and very little horror, but it has an almost Argento-like nightmarish feel to it, and like most of Franco's output, is very stylish despite the obviously low budget. The sight of the gorgeous Ms. Blanc is more than enough for me to recommend this movie. One look at her and any failings 'A Virgin Among The Living Dead' has will quickly be forgotten! An enjoyable fun movie.

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.

And does that EVER apply here! I have a really soft spot for this crapper. Long, long ago, I saw it under the title "A Virgin Among the Living Dead". It made no sense! Then, years later, in my pursuit of obtaining bad films, I found an almost-uncut version. There are so many different edits of this film, it's hard to find the definitive cut. The one I currently have makes much more sense than the usual rental version.

To clear things up, zombies were not part of the original film (titled "Christine, Princess of Eroticism"). The zombie footage was taken mostly - if not entirely - from "Zombie Lake" (1980), which means they were spliced in well after "Virgin" was released (1971). Anyway, "Virgin" is about a girl named Christine, who journeys to her uncle's chateau for the reading of his will. What she finds is both revolting (to the squeamish) and humorous. Jess Franco does his job of playing the disheveled freak rather well. He just looks like a sleazebag. He also does an adequate directing job. The movie is very stylish as is typical with Franco's work, but also rather visually stunning, with the shots of the lush forest surrounding the chateau. There is even some strong atmosphere, particularly when, in one scene, Christine's uncle is drawn back into the shadows after speaking to her.

The film culminates in a sexual ritual that is severely--not to mention ridiculously, at least with the "Zombie 4" version--edited on any of the American prints. In fact, many of the scenes that help make the film more cohesive are also excised from American prints. The (as close as possible to) uncut version is really good if given a chance. Though not necessary, outside. . .influences can only help the viewer (and no doubt were used during the making of this trash classic). "Virgin" + melatonin + dank fun dreamy state.

Unfortunately, as so many others have mentioned, you won't see Christine nude unless you can find a completely unedited tape. She sure is hot! Shame she was only in three films (at least according to the IMDb). So that's it. I like it, but most don't. It's worth seeing just because it's better than any given American slasher flick.

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!!