La maldición de Frankenstein

More hot hacienda action the ol' Franco way, featuring many of the sets, actors and characters from "Dracula: Prisoner of Frankenstein". "Curse" does in fact exist in two versions, as the "proper" version is called "The Erotic Rites of Frankenstein" and is roughly the same as "Curse" aside from that fact that in several scenes the characters have miraculously lost all of their clothes. Curse is the censored and "clothed" one, which also unfortunately includes an additional number of scenes not present in "Erotic Rites" which depict a gypsy girl called Esmeralda wandering around a wood and talking to an under-acting old woman who doesn't even appear to realise that she's being filmed. Needless to say these scenes have absolutely sod all to do with anything else and, in an act of pure sadism, Tartan Video decided to release this longer version onto DVD.

Being fair to it, "Curse" is a lot better than "Dracula: Prisoner" and with some alterations could even have made a tolerable 70s horror film in its own right. Its core plot isn't too far removed from the Hammer films being churned out at the time and there's some vaguely interesting stuff going on in it. However, that doesn't mean to say it's any good. Mercifully, Franco has vastly cut down on the number of crash zooms though still seems to have problems in focussing the camera a third of the time, and most exterior footage seems to suggest that every building in Spain is situated on an ungodly ground subsidence. The musical score is also questionable, giving us some nicely eerie tunes here and there and then assaulting us with jazzy percussion tempos during key action scenes, such as when Frankenstein's monster breaks into a poor young lady's bedroom and leaps on her on the bed. Ah yes, there's some naughty hijinks going on in this film – including a truly nasty whipping scene that goes on for too long (and is even worse in the "Erotic" version, simply because one of the people being whipped is a nude 50 year old man – urgh…) – but certainly nothing to get heated about. Then again, Franco's idea of erotica seemed to be to just point a camera at a naked woman and stay there for 30 seconds a throw. Ho hum.

Dr Frankenstein (Price) is reanimating a somewhat shinier version of his monster, with help from his assistant, Morpho (what is Franco's fetish with the name 'Morpho'???). Despite playing the title character, Price is killed approximately two minutes into the film. Now, poor old Price's characters often have a run of bad luck. I've seen him getting throttled, impaled, drowned, drained of blood, tipped into acid and "excited to death", but I think I wouldn't be wrong in saying that Curse gives us the most novel method of Price dispatchment: bitten and bled by a blind and cannibalistic bird woman. Mmm. There's something to write home about. The bird woman and a gurning helper steal Frankenstein's monster and take him to the true villain of the piece, Cagliostro: a ranting nutter who doesn't blink (yes, it's Howard Vernon again, far better playing some bloke we've never heard of than the legendary Count Dracula). Cagliostro initially seems to want the monster to steal lots of virgins for him but then decides that he wants to create the ultimate woman as a bride of sorts for the monster. Quite why I don't know but I'm sure if he had the chance he'd list his reasons. Frankenstein's daughter, Vera, comes to pay her respects at her dad's funeral, following which she steals the body and reanimates it back at the "castle" to learn who did the poor bugger in. Eventually she reasons that the best way to get her revenge on Cagliostro is to let herself get captured by his monster and… um, get hypnotised into being his completely willing slave. Yes. Erm, not quite sure what she was getting at, there. In any case, that's the status quo and it's not even including the activities of the good Dr Seward, wandering around the plot and chatting to people (probably looking for Bram Stoker for an explanation as to what on Earth he's doing there).

I said it wasn't as bad as "Dracula: Prisoner" and that's true. For a start, it can only tarnish the memory of one horror staple rather than three, but aside from that it at least seems to know where it's going half the time. Most of this is thanks to the dialogue, in stark contrast with its prequel; yes, this time characters actually talk to each other, a revolutionary concept if ever I've heard one. Dr Seward actually gets stuff to do here and even comes across as a decent enough hero character (even if he does try to chat up Vena at her dad's own funeral – yes, really), having a hand in the baddie's downfall as opposed to his spare part status in "Dracula: Prisoner". Dennis Price appears several times throughout the narrative despite the seemingly overwhelming drawback of having been killed but spends most of the time lying on a bed, twitching spasmodically and rambling about his monster and Cagliostro. From what I can make out, Price seems to be giving an… interesting performance (in other words, going over the top to exceptional degrees) but as it's dubbed in Spanish with English subtitles I can't really tell. Eventually Frankenstein dies after one ramble too many, only to come back from the dead as a (somewhat mincing) zombie who staggers into the next room to have a go at strangling Dr Seward. Price's demise is finally made certain when a police inspector chucks a container of acid over him, which seems to disintegrate Price's head in 0.5 seconds. Golly.

And then, 20 minutes later, it sort of... stops. I ought to be grateful that it ended at all.

Once upon a time, I viewed a copy of Jess Franco's Virgin among the Living Dead. I thought the movie was slow, boring and utterly pointless. Henceforth, I made it my firm resolution to avoid any movie directed by Jess Franco again. However after catching "the Awful Dr Orloff" on tv I have over the years become an admirer of his unique filmic style and now suprisingly claim that Jess Franco can be considered an Auteur of Euro-trash cinema.

The Erotic rites of Frankenstein is a very hard movie to track down. As far as I know it has never been released in the UK or America. Therefore, I was lucky enough to obtain a good widescreen copy on VHS from a car-boot sale. (These thing's always turn up in carboot sales!) The movie is a very imaginative and bizarre reinterpretation of Shelley's classic horror tale with and overtly sexual subtext.

Dr Frankenstein finally bestows the gift of speech upon his creation. Unfortunately his triumph is short lived when he is attacked by a weird naked vulture woman who tears him to shreds in his laboratory. Vera Frankenstein investigating his death reanimates her fathers corpse and discovers that his murderer is none other than Cagliostro the Wizard who has stolen the monster to aid his plans for world domination. Vera sets out to revenge her father but alas falls into the clutches of the wicked and very perverse Cagliostro....

This film contains many odd scenes and speeches from the characters. The oft mentioned scene of a bare chested and silver skinned Monster mercilessly whipping a naked couple over a spiked floor is suprising to say the least. The naked vulture woman's attack and slaughter of several naked men too is unexpected. As is the appearance of zombies at Cagliostro's castle. For once in a Frankenstein film it is the Doctor himself who is reanimated not less than three times and eventually becomes his own monster.

I enjoyed this movie - Franco's obsessions with S&M and naked women provide a spice to a very tired tale.

To all of you out there who think that the likes of Steven Soderbergh and David O. Russell epitomize independent film-making: go rent this film and let the scales fall from your eyes. Made during director Jess Franco's amazing early 70's period, post Harry Alan Towers and pre-porno, The Erotic Rites of Frankenstein is a surrealist masterpiece, poetic, perverse, comic, and mesmerizing. Shot for next to nothing on location in Portugal, the film is full of evocative, wide-angle, hand held imagery that must have appeared jaw-droppingly innovative at the time, and still astounds today. Daniel White's atonal, experimental score skillfully enhances the film's nightmarish languor, and the roles, particularly Anne Libert's blind cannibalistic Bird Woman, and Howard Vernon's strangely sexy Cagliostro, are performed with aplomb and conviction. You won't soon forget the scenes of white-shrouded undead gliding through a mist-laden forest, the strange, red-lit shots of Cagliostro's acolytes blithely staring at cruel tableaux orchestrated for their perverse amusement, or a shrieking, silver-skinned Frankenstein's monster relentlessly whipping a man and a woman tied together over a bed of spikes. Anyone who doubts Jess Franco's talent should rent this DVD, and then ponder the pettifogging morass that independent cinema has become.

I am generally a big fan of the highly prolific exploitation filmmaker Jess Franco, yet it is undeniable that his impressive repertoire includes ingenious films as well as big time stinkers. While this "Erotic Rites Of Frankenstein" of 1972 is not one of the most awful films Franco has ever brought to screen it definitely ranges among his lesser ones. The film has its positive aspects, including a certain delightful weirdness, but it is overall a bit too messy, and often quite boring. Still, for my fellow trash fans, there are some reasons to see the film. This is the first film ever starring Lina Romay, who subsequently became a Franco-film-regular and sleaze-queen. Romay was only 18 when this film was made, and she became director Franco's wife some time later. The film's storyline is weird and very absurd, and basically typical for a Franco flick. I will not go into detail, but I'll say this much: The story revolves about an insane scientist/sorcerer named Cagliostro (regular Franco-film star Howard Vernon), who has a cult of devoted freaks in his castle, and wants to create a human 'masterrace' by crossing beautiful women with Frankenstein's monster. Or whatever. Sounds like a lot of weird fun, I know, but sadly the film gets quite tiresome at times. There are two versions of the film, one of which is a lot sleazier. They basically shot the whole film twice, with the exact same things happening, only that the women are mostly clothed in one version and mostly fully naked in the other. My DVD contains the more prudish version, with the more explicit 'alternative' scenes as a bonus feature. I strongly recommend to watch the sleazier version, of course, since the sleaze factor is arguably the most recommendable thing about the film. The female cast is lovely to look at and mostly naked (in the interesting version). Also, there are some ridiculous and amateurish, but delightfully weird outburst of violence. The cinematography and settings are also very good. Howard Vernon enjoys a certain cult status among many of my fellow exploitation fans, and rightly so, if I am considered. The guy was certainly not the most brilliant actor ever, but he fit very well in the trashy Eurohorror roles that he played. Vernon's repertoire ranges from some excellent films (such Jess Franco's very own masterpiece "Miss Muerte") to god-awful (such as Jean Rollin's dreadful "Zombie Lake") and his presence actually makes films like this one a lot more worthwhile. This film of many aka. titles (such as "La Maldición De Frankenstein") is watchable (in the explicit version) for its weirdness, but one shouldn't expect too much. Among the Franco films I've seen (and those are quite many by now) this one doesn't rank at the very bottom, but it certainly ranges in the lesser half.

This one's undoubtedly superior to Dracula, PRISONER OF FRANKENSTEIN (1971) – displaying a fair evidence of style throughout (notably some Bavaesque lighting).

It utilizes a lot of the same cast as that film: Dennis Price, in fact, returns as Frankenstein but gets little to do (this is his least performance in a Franco film – especially embarrassing when his character is regenerated); Howard Vernon now turns up as Cagliostro (I had been underwhelmed by his performance when I watched the Spanish version a few years back, but he's actually quite commanding); Anne Libert gets her most impressive role as Melissa, the blind and eccentric "Bird Woman" in Cagliostro's service (though the mysterious zombie-like figures who witness the titular events from behind bars are just as grotesquely made-up); Britt Nichols is underused, but her luscious figure gets exposed this time around (and, in any case, she's perfectly cast as Cagliostro's proposed bearer of a new master race); Alberto Dalbes also returns as Dr. Seward where, again, he's the hero; ditto Fernando Bilbao as Frankenstein's monster (given a curious silver make-up here); Luis Barboo is on hand as well but, now, he plays Cagliostro's henchman rather than Frankenstein's (the latter role is taken all too briefly at the very start by Franco himself); Daniel J. White also gets more screen-time than in the previous film (where he was just an extra) as a Police Inspector.

Missing here – consequently, the film runs for a mere 70 minutes! – is the irrelevant gypsy subplot (featuring Lina Romay) filmed some time later and eventually incorporated into the Spanish variant, dubbed LA MALDICION DE FRANKENSTEIN aka THE CURSE OF FRANKENSTEIN...though the English-language edition I watched also bears this title!! Still, the would-be erotic rites (presented clothed in Spain) are silly rather than titillating: actually, there's only one (in which the monster is made to whip the naked figures of Barboo and Frankenstein's daughter in a dungeon with a spiked floor), as the intended procreation scene involving Bilbao and Nichols is ultimately interrupted by the heroes. Cagliostro's flight at the end, then, suggests that a further instalment may have been intended – but it never transpired.

Opinions about this particular version seem to go from one extreme to the other: it's neither one of Franco's top efforts nor among his worst, hence the middle-of-the-road rating I gave it. On the other hand, everybody seems to agree that the alternate Spanish release is a lesser achievement – even so, it's not that the loss of the tacked-on footage (or, for that matter, the benefit of nudity) dramatically alters the quality of the finished product!