Severin Review: Vampyros Lesbos (1970, dir: Jess Franco)

VAMPYROS LESBOS
(1970, dir: Jess Franco)“Psycho-Sexadelic Horror Freakout!”

Young lawyer Linda (Ewa Strömberg, She Killed in Ecstasy) is haunted by an erotic recurring dream involving herself and her lover Omar (Andrea Montchal, Eugenie de Sade). The dream involves herself and Omar enjoying a stage show involving a young and beautiful seductress (Soledad Miranda, Count Dracula). After the show, Linda is beckoned, seduced and killed by the mysterious nubile. Her therapist, Dr. Seward (Dennis Price, Son of Dracula) seems to think that the recurring dream is down to Linda needing a new sexual partner. Fair enough! Unfortunately, there's no time for that as Linda is assigned to visit a woman by the name of Countess Nadine Carody, who has recently inherited property from none other than Count Dracula! Once she has arrived and settled in, it's on to business. Before she can get the Countess's signature and realise who she's dealing with, she is drugged, seduced and then bitten by the bloodthirsty Countess. As if it wasn't bad enough, Linda then finds herself with a case of amnesia and under the care of Dr. Steiner (Paul Muller, Lady Frankenstein). It's her lucky day however, as Steiner is more than just a doctor, he's also a vampire hunter. With the help of the doctor and Omar, Linda must put an end to Countess Carody's bloodthirsty reign. It's not going to be easy, but it sure is going to be bloody!

 
Where do you start with a film like Vampyros Lesbos? Jess Franco is one of my all time favourite directors and even though I find his back catalogue to be very hit and miss (with a filmography that size, it's understandable), I can safely say I enjoyed this greatly. Right off the bat, you can tell this is a Franco film. From the cinematography to the way the action is staged and played out. Some may find his overuse of the zoom to be annoying and the snobs out there will turn the nose up at the occasional out of focus shot, but these tiny things all play in to my compassion for Jess Franco. There's some absolutely gorgeous locations used here and the set design as well as the costumes are second to none. As cheaply made as this film is, Jess definitely has a good eye for style and working around budget constraints. You sometimes find yourself scratching your head when trying to follow the plot of a Franco film, but Franco with the help of Jaime Chávarri (To an Unknown God) and Anne Settimó (Jungle of Fear) have scribed a cohesive, yet abstract enough to stand out feminine retelling of Bram Stoker's Dracula, even if Chávarri now distances himself from the film. There's a real sense of atmosphere throughout that often makes the film feel almost dreamlike. The score from Sigi Schwab (The Devil Came From Akasava) and Manfred Hübler (Intercontinental Express) adds to that dreamlike atmosphere, but also ranges from haunting to out right funky. It's up there with one of Franco's best film scores and worth looking in to if you like jazz. The star of the show (both literally and metaphorically) is the Countess herself, Soledad Miranda. All she has to do is look directly in to the camera and the audience is eating out of her hands. Her performance is subtle, yet effective and fundamentally sensual. Right from the first few seconds where she is beckoning the viewer. This is her film. Don't get me wrong, everyone else puts in a good turn for the most part, even Franco himself appears as a somewhat mentally challenged and sleazy island local with his own secret, but the focus is on Miranda, even if this may not be her most demanding role. It's clear that if she hadn't had met her untimely demise, she would have made even greater waves in the film industry. Of course, those looking for bare flesh and blood will be very happy I'm sure as there is a good amount of that thrown in too. That being said, this is more classy than pure schlock or sleaze. A perfect film for the turtleneck wearing Franco fan!

  In terms of sound and picture quality, the film has been beautifully restored and presented here. Of course, being that this is a Franco film and the source material may have not been preserved at the most optimal of levels, there are some focus issues and the sound can get a bit questionable, it shouldn't be an issue at all. Those wanting special features will be very happy in my opinion. There's an interview with Franco himself talking about the film, his relationship with producer Artur Brauner and of course Soledad. Is it just me or is it like watching your granddad telling you stories when you watch a Franco interview? Sticking with Soledad, there's an interview with Amy Brown, founder of the official Soledad Miranda website, that goes in to the life, career and death of Soledad. The final major feature is an interview with Franco scholar Stephen Thrower which gives a bit more insight in to the film. Not only that, but we also get an extra clip of Franco talking about his experience with Stuart Freeborn (Star Wars: Episode IV – A New Hope)
and his true inspiration behind the look of Yoda, original German opening title sequence and of course, the German trailer. As if that weren’t enough, the film is packaged up with some gorgeous newly-commissioned art from Wes Benscoter. All in all, this is a must own for UK lovers of Jess Franco, Soledad Miranda and of course; Vampyros Lesbos. This would also make a great starting point for newcomers!

Vampyros Lesbos is available on DVD & Blu-Ray from Severin.
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Vinegar Syndrome Review: Bijou (1972)

BIJOU 

(dir. Wakefield Poole, 1972)

On his way home after a long day at work, a construction worker (Ronnie Shark) witness a young woman (Cassandra Hart) being hit by a car. Of course, being the gentleman that he his, our brave hero is there to help a lending hand. Well, I should say thieving hand. He steals the young woman’s purse and makes it back to his apartment. Obviously shaken by what he has just witnessed, he decides to get a load off (no pun intended) his mind and have a little bit of rub and tug to the music of Led Zeppelin (you know, mood music), he takes it in to the shower but starts to get images in his head of the woman and abruptly stops (fair play). He notices a flyer for a club called Bijou in the woman’s purse and decides to hit the place up to help take his mind off things. When he arrives all is not as it seems and things get a little strange from here on in.

Bijou is the follow up to the hugely successful Boys in the Sand. This time however, we have something more of a hallucinogenic acid trip. What we witness within the Bijou nightclub is a series of highly erotic and often surreal sexual acts. It’s not for everyone, not just for the fact that this is a gay porn film. If you don’t like experimental film, you will most certainly not like this at all. Wakefield’s use of both contemporary and classical music is once again second to none, no matter what your sexual preference or opinions on the sexual content, you can’t deny that Poole is a true artist and visionary. The sets are simple, essentially blacked out spaces (Poole’s own apartment) with minimal use of theatre style lighting, but work brilliantly for what you are seeing unfold on the screen. His use of mirrors and smoke machine certainly add to the affect. In my honest opinion, this is a very tough film to review. From a simple viewpoint, this is a great example of the underground and experimental cinema of the time. However, if you look more closely after repeat viewings, there is a lot that can be potentially dissected, especially in terms of the “psychosexual puzzle” as stated within the synopsis of the DVD. One thing is for certain, this is definitely a film (as Poole himself intended) that will affect people in different ways.

Just like Vinegar Syndrome’s release of Boys in the Sand, you get a healthy amount of special features. There is an audio commentary and video introduction with Wakefield Poole. As well as a vintage interview with himself and an interview with author Linda Williams. Not only that, but you get original audition footage and of course, a trailer. Do I really need to tell you how much of a good job this release is? It’s safe to say that Vinegar Syndrome’s restoration is once again top notch and the overall package is a great thing. If you are a fan of Wakefield’s work or this film in general, you must go out and buy it. If you’re looking for an interesting experience no matter what your tastes or sexual preferences, this is also a release worth owning.

You can read my review for Vinegar Syndrome's release of Boys in the Sand here. Bijou is available to buy directly from Vinegar Syndrome here as well as your favourite online retailers.

Vinegar Syndrome Website

Vinegar Syndrome Youtube

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Vinegar Syndrome Review: The Early Works of Wakefield Poole

BOYS IN THE SAND
(dir: Wakefield Poole, 1971)

“The Most Acclaimed Male Movie in the History of Cinema”

 My only connection with Wakefield Poole prior to watching Boys in the Sand was Calvin Culver (also known as Casey Donovan) who appeared in Radley Metzger’s film, Score. Of course, the name Wakefield Poole is one you hear a lot when you are a fan of the Golden Age of adult cinema. Thanks to those chaps at Vinegar Syndrome, us fans of classic smut can now experience the works of Wakefield Poole with their Films of Wakefield Poole Collection. Kicking off the collection is Boys in the Sand, Poole’s directorial debut. The film is a piece of experimental art house pornography that is beautifully shot on the picturesque Fire Island. There is no dialogue or diegetic sound of any kind, in its place is music. Of course, there are hardcore scenes but they are shot tastefully and are in some places, very passionate and intense. That’s where my praise for the film ends. I found Boys in the Sand to be a very dull experience.

 Some may be put off by the sexual content, but that was no issue for me at all. I just found the film so uninteresting. Technically, the film is sound. Wakefield has such skill behind the camera and a great sense of style. The marriage of music and imagery is marvellous. If you are an aspiring filmmaker, this is a great example of what you can produce with a tight budget and creative mind. Although I didn’t enjoy the film aside from it’s aesthetic and experimental elements, I can appreciate just how important this film is. Not only was this a milestone for pornography in general but it also helped show gay sex and homosexuality in a positive light. Not only that, but it made Fire Island something of an international holidaying hot spot. Just like Deep Throat, the film itself is nothing to shout about but its cultural and social impact is something everyone should be aware of.

It’s not all negativity though my friends, this release also boasts four short films directed by Poole.

 ANDY (1971)

Fans of Andy Warhol will definitely appreciate this short. Filmed during a Warhol retrospective in 1971 at the Whitney Museum, Poole documents the event in a way that is exciting and kinetic. Not only that, but it compliments Warhol’s work perfectly. Not only did Poole shoot and edit this, he also created a soundtrack to compliment the imagery. It’s interesting to note that Poole presented the finished piece to Warhol as a present and even screened it before showings of Boys in the Sand. The soundtrack alone makes this worthy of viewing.

 A GIFT (1971)
Shot on Fire Island around the same time as Poole was making Boys in the Sand. This is something of a precursor to Poole’s first feature. The film was made in collaboration with Ed Parente and was shown to Parente’s lover to show how much he loved him. It’s once again a tastefully made piece that is symbolic following creative journey of a man and a shell. I have probably completely missed the point but it’s still worthy of a watch.

 HEAD FILM (1971)

Once again we have a very experimental and fast piece in which Poole combines music from the camp to the epic, with footage and audio taken from various TV shows, commercials and radio. Just for good measure we get lots of cooking (damn the food looks good!). This is indeed a very exciting piece of experimental film that also has a sense of humour about it. Shot on 8mm, this is a pure piece of experimentation at its finest.

 VITTORIO (19??)

Finally, we have what is possibly my favourite short on the DVD. Moving away from live action, Poole turns his hand to stop motion animation. The piece was made as part of a show put on by Triton Gallery to help publicise the art of Vittorio Florucci, a Canadian artist. There’s really not much to tell aside from it’s an intriguing and well made animation that stop motion animation fans will enjoy.

Overall, the main feature is nothing amazing for me but the release in question is fantastic. Vinegar Syndrome have certainly outdone themselves. Aside from the bonus shorts, you get an audio commentary, vintage interview and introduction from Poole himself as well as a featurette revisiting Fire Island. Not only that but there is an interview with Linda Williams, an unused sequence from Boys in the Sand as well as the films original trailer. The presentation of the film is as good as we will probably get, and Vinegar Syndrome have done the best with what materials they have. The shorts are presented here for the first time on DVD and the features are plentiful. This is a great release for fans of classic porn as well as those who are interested in the social aspects. We have come far as a society in terms of equal rights and this film and release could not have come at a better time. If you are open minded and mature enough, there is no reason why you shouldn’t at least check this release out. My hats off to Vinegar Syndrome once again.

You can buy this release directly from Vinegar Syndrome here as well as your favourite online retailers.

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