L'horrible Docteur Orlof

In 1912, five beautiful easy women are kidnapped and the efficient Inspector Tanner (Conrado San Martín), who is engaged of Wanda Bronsky (Diana Lorys), is assigned to the case. The responsible for the abductions is Dr. Orloff (Howard Vernon), a former prison doctor, and his deformed assistant Morpho Lodner (Ricardo Valle), who was a prisoner sentenced to death and revived by Dr. Orloff, that bring the women to the Hartog Castle to remove the skin of his victims to repair the face of his daughter that was burned in a fire. When Wanda decides to help her beloved fiancé to find the criminal, she becomes the next victim of Dr. Orloff. Now Inspector Tanner's last chance to find Dr. Orloff relies on the lead of the drunkard Jeannot (Faustino Cornejo).

"Gritos en la Noche" (a.k.a. "The Awful Dr. Orloff") is one of the best films of director Jesus Franco that I have seen so far. The story combines the story lines of the successful 1960 "Les Yeux Sans Visage" ("Eyes without a Face") with Frankenstein, Jack the Ripper and Sherlock Holmes and the result is good. The cinematography in black and white is great and the acting is decent. My vote is six.

Title (Brazil): "O Terrível Dr. Orloff" ("The Terrible Dr. Orloff")

Jess Franco's Awful dr. Orlof aka Gritos en la noche (1962) stars Howard Vernon as dr. Orlof, who makes experiments and skin transplants on girls he kidnaps in order to return her savagely injured daughter back to her physical beauty. He has Morpho, a horribly disfigured human monster, with him helping him and kidnapping the girls. A police detective starts to investigate the strange disappearances and soon he gets some clues where the missing girls might be..

The story is pretty close to many classic monster horrors like King Kong (1933) and other stories in which a desperate character tries to fight against wrongs and obstacles he has encountered, only to find himself even deeper in the misery. Orlof wants to safe his daughter's face and beauty, but by doing bad things (murder, torture) he cannot reach his goal, and this is the moral and message of this film. The ending in Orlof is very sad and tragic, and also close to King Kong's ending. It is all as tragic as the life itself, and by watching these immortal classics among cinema we have an opportunity to understand little better how things in our lives should be solved and by which means, no matter what. Also this film teaches us to value all the positive things in our life, not just to think about what there ISN'T in our lives. There are always somebody whose life is very sad and miserable compared to yours and mine.

Orlof is also very atmospheric horror film and shows the talent of director Franco, who has also specialized in trash and exploitation in many of his films. His other achievements among many are Bloody Moon (sex/slasher), Love Letters of a Portuguese Nun (nunsploitation), Sadomania (WIP), Faceless (ultra gore), Virgin Among the Living Dead (sexploitation, vampires) etc etc. Awful dr. Orlof is definitely among his greatest cinematic achievements, and is as effective and valuable as other black and white Euro classics like Mario Bava's La Maschera Del Demonio (1960) starring Barbara Steele.

There are many great scares in Orlof and atmospheric segments in the castle of Orlof and in his chamber. Franco uses weird camera angles effectively here and they work fine and create the ominous feel to the film. This is the kind of film which should be seen in movie theatre on big screen. I give Awful dr. Orlof definitely 9/10 rating and recommend it highly to every one interested in classic black and white European horror cinema, which has all the unique elements usually lacking in nowadays' commercial efforts. Awful dr. Orlof is also a must see for those who think Franco is bad film maker.

One of Franco's first movies (when he was still considered a good director), very pleasant to watch. It has all the elements of the traditional horror recipe and is often inventive and surprising ; of course it is not really scary (well, at least not anymore), but the angst mood does still work pretty well, and it is both funny and seriously set (what post-Scream so-called horror movies are not) ; and sometimes even beautiful (the black and white pictures help). Actor Howard Vernon is a good Frankenstein/Jack the Ripper villain, and has something of Peter Cushing or Christopher Lee. If you like old terror tales (from Universal 1930's to Hammer 1970's, that kind), you should give it a try, really.

This is a successful, if not brilliant, Gothic entry which marked the debut of director Jess Franco, that prolific Spaniard who would go on to film all manner of sleaze and depravity within the next thirty years. Desperately hoping to cash in on the success of the Hammer films, as well as the various Italian Gothic chillers of the time, THE AWFUL DR. ORLOFF models itself on these films, but truth be told, Franco is no Bava or Fisher. While all the trappings are right, there are none of the odd camera angles and stylistic touches which made contemporary directors like Freda and Margheriti such masters of their art. Throughout this film the camera is fairly static, although thankfully there are none of those annoying zooms of which Franco became so fond of in later years.

The plot itself seems merely to be a retread of the 1959 French classic, EYES WITHOUT A FACE, except with the added sleaze trappings you would expect from Franco. Actually, the sleaze here is very tame, but Franco still finds ways to incorporate all manner of exotic dancing, chained females, and women in tight-fitting clothes into his film. The black and white photography works in this film's favour, highlighting some spooky buildings and drawing out the shadows in darkened streets, the starkness of which would have been lost in colour. Unfortunately, the low budget is rather obvious too, with most of the action being consigned to office sets and little in the way of scope - all of the scenes are character-focused, without any of the scene-setting that Hammer might have inserted by having, say, mountains or landscapes in the background. Some of the incident in this film is also too dark, making it hard to see the events playing out on screen.

Despite some poor dubbing, the acting, while not brilliant, works here, chiefly with Howard Vernon's villainous turn. Vernon uses his bizarre, cruel features to create a truly loathsome mad scientist, unflinchingly murdering innocent girls in the name of science. Vernon later became a Franco regular, appearing in many of his films such as THE BLOODY JUDGE and FACELESS. Ricardo Valle has the role of the deformed sidekick, complete with dodgy-looking bug eyes, and manages to evoke a grain or two of sympathy for his wretched character. Quite surprising for a character who is both blind and mute. The ladies are all very glamorous-looking, but only the lead actress possesses any real talent.

A police investigation manages to slow events down to a crawl, but there are still plenty of memorable images which this film conjures up. The opening has an unsuspecting victim opening her wardrobe to find the bug-eyed manservant jumping out at her, while other scenes evoke Jack the Ripper with the doctor, replete in cape and top hat, prowling the gloomy streets looking for more victims. Sadly, despite being by all accounts a rather tame film, the film is trimmed of all surgical scenes in the UK so I am unable to give an account of these. Most of the action is saved for the finale, as is the case with these films, and it doesn't disappoint. Altogether, this is very much an average affair which goes through the motions but is too happy to feed off other classics which have gone before it.

I saw this, one of Franco's first films, late at night and although it was creepy and at times rather surreal, there is little to approach the weirdness of Vampiros Lesbos et al. But instead we have a well-crafted gothic fantasy reminding one of Universal or Hammer horrors, but ultimately surpassing these in terms of suspense and scares. There is also very little of the violence or nudity that characterises his later work (although I did see a slightly trimmed version). This is probably Franco's most accessible film and, although he has himself remade it at least 4 times, this still remains the ultimate version. And unlike just about anything else by Franco, it stays the right side of cheese throughout, relying on Franco's skill as a director rather than cheap nudity thrills. Definitely recommended for fans of euro-gothic horror, although fans of Franco's later more whacked-out work would have to prepare themselves for something making a little more sense than normal.