La comtesse perverse

Countess Perverse (1974)

** 1/2 (out of 4)

The Countess (Alice Arno) and Count Zaroff (Howard Vernon) seem like your normal type of people but what horror lies within their castle walls say the otherwise. It turns out that the two are actually cannibals who are provided women by another local (Robert Woods) who the Countess hunts down with her arrow. Soon another woman (Lina Romay) is delivered for their wicked game but things don't go as planned.

Jess Franco's LA COMTESSE PERVERSE is a sexed up version of THE MOST DANGEROUS GAME and like many of the director's work from this period it's available in several versions. The film was originally a hard sell anywhere so the producer had Franco shoot more sex scenes including some hardcore ones. The film would find a release via the hardcore version and this was what was on the market for years. Finally, a 76-minute director's cut of the original version was released as well as a new hardcore version under the title SEXY NATURE.

This was my first time watching the director's cut and it's certainly better than the hardcore versions but I'd still say it falls short of being one Franco's better films. There are some interesting things scattered throughout the picture including an early sequence where one of the women are on a boat and headed towards the island. There's a really weird music score here and the visuals on the boat just make this a rather surreal sequence. The film is actually rather light on the cannibalism subject, although this here was apparently why it couldn't find a release.

The film offers up a nice cast of familiar faces. Vernon is always fun to watch in these Franco movies as is Woods. Both men offer up good performances here. Arno is extremely good in the role of the perverted countess who likes to kill women and then eat them. Romay makes one of her earliest appearances here and she's obviously easy on the eyes. The cast are certainly a major plus and especially since Franco fans will be used to most of them.

I think where the film fails is that there's really no energy or drama throughout. There's never a risk that you feel for the woman and the final hunt is rather boring and the film just doesn't contain enough to keep you fully invested in what's going on.

Have you read the Most Dangerous Game, also known as The Hounds of Zaroff? It's a short story by Richard Connell that came out in the 1920s. Even if you haven't read it, no doubt you know the story, there have been countless adaptations and movies based on the same idea. People trapped on an island, and being hunted off one by one by some very sick individuals. Sounds like Battle Royale, sounds like The Condemned, even sounds like the recently popular tween flick, The Hunger Games. What can I say, it's a damn good story. But I bet no one has ever seen anything quite like Jess Franco's version of this popular tale. Can you imagine if the fans of The Hunger Games saw this?! It would blow their minds!!! This is the one and only, Countess Perverse.

Countess Perverse follows the story far more closely then the previous mentioned adaptations, our villains are even referred to as Countess and Count Zaroff. The only difference being, Franco adds a certain... flavour.. to the mix, to make this flick quite the tasty treat. And of course, when Franco is involved, we know things are bound to get a little saucy. Actually that's an understatement, think of this as a very...sensual... version of the Most Dangerous Game. Some might even call it sleazy. And it is, I do recall a rape scene that very quickly turns into a consensual encounter. And of course the forever lingering shots directed at female genitalia, oh Franco, you romantic you! For the most part, the entire cast spend most of the movie nude. And with stars such as the always gorgeous Lina Romay, it's quite a sight. Rejoice for the human form and all it's beauty!

To add more beauty to this somewhat erotic movie, we have a gorgeous setting. The island is breathtaking, it's surrounded by beautiful ocean views, menacing rock formations, and interesting architecture for the Mansion that our victims find themselves in. The scenes where our cast walk down the steps in the house, tinted red, is such an interesting and menacing shot, it really stood out for me.

Finally, the music is quite beautiful in parts and also quite tribal in others. Really sets the movie for me. Just gorgeous. I'm coming to appreciate the musical sense in Franco's work. He knows how to tone the scenes.

Final thoughts? Most people probably would dismiss this movie as trash or porn without giving it more of a chance. It's unfortunate because this movie offers so much more than that, and while some scenes might be considered borderline pornographic, the film goes above and beyond those scenes. In a similar vein to Lorna the Exorcist, it's a damn good movie and one I recommend fans or Euro horror. Just be warned that this is an 18 years and over flick. Sorry kiddies, you keep enjoying The Hunger Games.

One loses hope and faith in mankind when presented with a film as completely and utterly dreadful as Les Croqueuses. One of the very worst Jess Franco efforts, this film is basically an unattributed remake of The Most Dangerous Game with nudity and hardcore inserts. Filled with the worst of Franco--overuse of the zoom lens, long boring sex scenes, and static set-ups--it is hard to understand how IMDb users could rate this so highly (two '9's, two '7's, two '6's, a '2', and my very generous '1'). For Franco or Howard Vernon completists only.

La comtesse perverse is a provocative, uneven blend of erotic horror and surrealism, riffing on the classic "Most Dangerous Game" premise but filtered through Franco's unmistakable lens. The film's greatest asset is its atmospheric cinematography, which uses shadows and natural light to create a haunting, dreamlike quality, particularly in early sequences set on the water and in the isolated mansion. Bruno Nicolai's score adds a layer of tension, occasionally elevating the mood when the pacing lags. Alice Arno stands out as the titular countess, delivering a performance that is both menacing and alluring, while Lina Romay, in one of her earliest roles, brings a vulnerable physicality that suits the film's exploitative tone. Howard Vernon and Robert Woods are reliable presences, but the acting overall veers from stilted to melodramatic, never quite grounding the outlandish narrative. The explicit content, which ranges from softcore to more graphic scenes depending on the version, feels more like a commercial afterthought than an organic part of the story, often overwhelming the film's attempts at suspense or psychological intrigue. While the visuals and occasional surreal touches intrigue, the film is ultimately undermined by sluggish pacing, repetitive sequences, and a lack of genuine dramatic tension. Despite flashes of Franco's idiosyncratic style, the movie struggles to maintain engagement, with the final hunt arriving too late and executed without urgency or suspense. For fans of Franco or Eurocult oddities, there is some appeal in the cast and the film's audaciousness, but most viewers will find it a frustrating, meandering experience that never quite delivers on its lurid promise.

La comtesse perverse, directed by Jess Franco, is a film that attempts to blend elements of eroticism, horror, and drama. It tells the story of a countess who indulges in sadistic sexual games with her lovers, leading to a series of mysterious deaths.

The film's cinematography is visually captivating, with its use of shadows and lighting creating a haunting atmosphere. The surreal dream sequences add an intriguing layer to the narrative, making the viewer question what is real and what is not. However, these strengths are often overshadowed by the film's weaknesses.

One of the major issues with La comtesse perverse is its pacing. The story meanders, taking too long to develop and lacking a clear narrative arc. This results in a disjointed viewing experience, which may leave audiences feeling disengaged. Additionally, some of the performances feel stilted and overly dramatic, detracting from the overall impact of the film.

Despite these flaws, there are moments where the film manages to capture the viewer's attention. The exploration of themes such as power dynamics and sexual violence, while controversial, does provoke thought. Furthermore, the film's score, composed by Bruno Nicolai, adds a certain level of tension and suspense.

In conclusion, La comtesse perverse is a mixed bag. While it has its moments of intrigue and visual appeal, these are undermined by its slow pace and inconsistent performances. It may appeal to fans of erotic horror or those interested in exploring unconventional themes, but it falls short of being a truly satisfying cinematic experience.