Severin Review: She Killed in Ecstasy (1971, dir: Jess Franco)

SHE KILLED IN ECSTASY
(1971, dir: Jess Franco)

 Dr. Johnson (Fred Williams, COUNT DRACULA) is a hard working scientist who has it all; his beautiful wife (Soledad Miranda, VAMPYROS LESBOS) a luxurious lifestyle and a potential scientific breakthrough that will revolutionise medicine, That's until his Dr. Huston (Paul Muller, LADY FRANKENSTEIN), Dr. Crawford (Ewa Strömberg, THE DEVIL CAME FROM AKASAVA), Dr. Donen (Jess Franco himself) and Prof. Walker (Howard Vernon, ZOMBIE LAKE) deem his work and his methods to be a crime against nature and a detriment to their own reputations. As a result they shut him down, strip his license and destroy his laboratory, hurting his wife in the process. All of this causes him to go insane. Fearing for her husbands safety, Mrs. Johnson takes him out of the city and the pair take up residency in a beautiful house on a remote island. Unfortunately, there really is trouble in paradise as the shamed doctor's mental health deteriorates leading him to take his own life. Consumed by grief, his beautiful widow has a desire to seek revenge on those responsible for her husband's downfall. She decides to do this in what she considers the cruelest of methods; seduction and cold blooded murder. She doesn't have long to pull it off as she has an inquisitive inspector (Horst Tappert, DERRICK) on the case.

What we have in She Killed in Ecstasy is a genuinely well made erotic thriller inspired by a Gabriel Marcel play Naturally, there is an element of sleaze to be found, but it's much more restrained than some would expect. The film is ultimately somber in tone. It may not be the most complex of stories, but Franco has created something that has real weight to it. Soledad's vengeful widow is genuinely sympathetic and although she carries out horrific acts, you get the sense that she's suffering internally as she is dishing out her gruesome revenge. She may be getting said revenge for her husband, but it's not something that she truly relishes. Not only does she seduce and murder, but in a style not too dissimilar to posthumous execution, she mutilates the genitalia of her male victims. From her genuinely seductive gaze to her portrayal of a woman losing her mind; Soledad's performance is nothing short of extraordinary. Had she not suffered such a terrible fate, her career would have been full of stand out performances like this, I'm sure. Those wanting to appreciate Soledad in an aesthetic sense will adore this film too. Wether she's completely naked or elegantly dressed, you won't be able to take your eyes off her. Of course, Franco regulars like Muller and Vernon put in a good performance too. Although not the bloodiest or goriest of films, the suicide and murders are staged in a somewhat shocking and impactful way. They could have either been too comically over the top or painfully tame, but thankfully that's not the case. To compliment the film, the jazz score provided by Manfred Hübler and Sigi Schwab (VAMPRYOS LESBOS) ranges from fitting the mood perfectly, to being a strange juxtaposition. Not only that, but orchestrated pieces provided / lifted from Bruno Nicolai (99 WOMEN) are used to devastating effect in the scenes involving the grieving widow and wrongly disgraced husband. This could quite possibly be one of Franco's most emotional and piercing films and being at just over 70 minutes long, it's a very easy watch for even the most critical of Franco's work.

  Speaking of which, it's such a shame that Franco was so dismissive of this film and his work, because considering this was just one in a string of swiftly produced films, the level of artistry to be found here is nothing short of mesmerising. From the use of beautiful architecture to the set and costume design, this is a film that proves just how much of an artist Franco really was. Thankfully, the picture and sound quality compliments the film perfectly. Aside from some noticeable dips in quality, there's nothing to complain about in terms of presentation. In terms of extra features, there are interviews with Jess Franco, Paul Muller and Soledead Miranda expert and Stephen Thrower. To top it off there is also the german trailer for the film. A handsome list I think you will agree! This is a must own for both seasoned Franco fans and newcomers alike. In fact, it's probably one of the few accessible Franco films. There's really no excuse for anyone falling under those categories to not add this to their collection.

She Killed in Ecstasy is available on DVD & Blu-Ray from Severin Films.

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Vinegar Syndrome Review: Long Jeanne Silver (1978, dir: Alex deRenzy)

Before I begin ladies & gentlemen, let me take this opportunity to thank you for making 2015 a great year! I hope you all had a wonderful Christmas, a messy NYE and of course, I wish you all a happy 2016!

LONG JEANNE SILVER
(1977, dir: Alex deRenzy)

“I've Got a Secret: I fooled Mother Nature”

 Our film gets off to a great start with the titular Jeanne Silver (WATERPOWER) letting us know that she is handicapped and horny, as well as boasting about having a bigger member than the legendary John Holmes. After such an introduction, we're thrown right in to action with Jeanne enjoying a light hearted threesome with her friends Joey (Joey Silvera, EXPECTATIONS) and Amber (Amber Hunt, CRY FOR CINDY). During this little frolic, we see Jeanne's handicap for the first time. Of course, she utilises it! After that, Jeanne tells us about the almost unlimited sexual opportunities high school has to offer (I obviously went to the wrong school!) and shares her exploits with a boy from her art class who just so happens to be gay. He may not be in to girls, but Jeanne has a trick up her sleeve, I mean her trouser leg! Yes indeed. We all know what happens next! They both enjoy it so who are we to judge!? Following that party trick, Jeanne tells us about fellow students China (China Leigh, TEENY BUNS) and Lori (Lori Blue, CHOPSTIX) who are somewhat prudish. Being the giving girl that she is, Jeanne shows off her Cheri magazine photo shoot and tells them abut life and sex with her stump. Understandably intrigued, they retreat to the bedroom to see what all the fuss is about. Needless to say, their curiosity is rewarded! For her penultimate outing, Jeanne tells us of that time she was a birthday present for a chap named Paul (Paul Thomas, JESUS CHRIST SUPERSTAR) from his wife Sandy (Sandy Pinney, HER LAST FLING). It's a birthday treat that he will never forget. For her final encounter, Jeanne tells us about one of the many lesbian encounters with her horny, leather clad neighbour (I have no idea who she is). Ending on a high sapphic note for sure!

 Long Jeanne Silver is a unique experience indeed. The film is essentially a series of vignettes broken up and structured around Jeanne addressing us, the audience. To some extent, it's a rather candid documentary with dramatised reconstructions if you will. You really believe that what we are seeing is in fact the life of Jeanne Silver. The conversation between Jeanne, China and Lori especially has a real sense of legitimacy about it. Even the way some of the sex is filmed further cements that. If you have never seen the film, you probably know why this film is as well known as it is and somewhat infamous. To be honest, as much as that scene is quite shocking (a quick search on even the biggest porn site will expose you too much more extreme sexual acts) and stands out, the real star of the show is Jeanne herself. Not only is she a knockout (she's just as, if not more attractive nowadays), she's funny, carefree and downright bubbly. More importantly for me, even though this film is obviously centred around her handicap and how she utilises it, her personality and all round screen presence shine through. Considering that this is a deRenzy flick and it's centred around an amputee, it's not as sleazy or bizarre as you would think. It's really quite a sensitive and an all round human film. Jeanne isn't portrayed as a freak, she's celebrated as opposed to being exploited. Everyone else involved do a great job too, but then again, they have no need to show off their acting chops. The film might have quite a reputation, but it's so much more than that. At around 65 minutes, the film flies by and is an easy watch. Overall, it's a winner that you can go back to time and time again.

Who would have thought we would get a restored and uncut version of this gem? It may not be the greatest looking or sounding restoration job from Vinegar Syndrome, but considering it's restored from a 16mm Archival Print, that can be forgiven. In terms of special features, there's only a commentary track. As much as I would have loved a trailer (if there actually is one that exists), I am not going to complain because the commentary track (recorded over the phone so it's perfect) is from Jeanne herself who is essentially going in to the film blind. It's entertaining as it is amusing. Overall, this is a must own for fans of the film and newcomers a like. It warms my cold, almost dead heart that a film like this is now has a restored, easy to obtain and ultimately legitimate release. Not only that, but it's great to see that thanks to this release, the wonderful Jeanne Silver is now finding a new audience and getting the respect that she deserves. It's also great that most of us can now get rid of that pesky Alpha Blue Archives disc!

Long Jeanne Silver is available on DVD from Vinegar Syndrome.

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Arrow Video Review: What Have You Done to Solange? (1972, dir: Massimo Dallamano)

WHAT HAVE YOU DONE TO SOLANGE?
(1972, dir: Massimo Dallamano)

  Enrico Rossini (Fabio Testi, Heroin Busters) is a teacher who is a bit of a naughty boy. Whilst trying to get down on a row boat (of all places) with young student Elizabeth (Cristina Galbó, The Living Dead at Manchester Morgue), their extra curricular activities come to a halt when Elizabeth claims that she has just witnessed the murder of a young girl. Dismissing this is as Elizabeth not wanting to seal the deal, it's not until Enrico is back home with his wife Herta (Karin Baal, Lola) that he hears about the murder on the radio. What starts out as an unfortunate isolated case, soon becomes the first of many gruesome murders. The only connection; all the victims are students at the Catholic girls school in which Enrico works. With the reputation that he has with his students, it's not long until Enrico becomes prime suspect. However, when Elizabeth is continually haunted by visions of a priest and becomes a victim of the sadistic killer, Enrico is soon deemed innocent. With his nubile plaything and career in tatters, he's on the case to solve the mystery once and for all. His marriage? Well, thanks to Elizabeth's frigidity, the pair never actually had sex and that's fine by Herta apparently! The plot thickens when Enrico becomes aware of a mysterious young girl named Solange (Camile Keaton, I Spit on Your Grave). What does she have to do with recent slayings? What exactly happened to Solange?

  What Have You Done to Solange? Is nothing short of a giallo masterpiece. What we have here is a solidly written murder mystery very loosely based on Edgar Wallace's The Clue of the New Pin. Alongside Dallamano we have Bruno Di Geronimo (Flavia the Heretic) and Peter M. Thouet (The Legend of Tim Tyler) on writing duty. Their screenplay goes from sleazy to violent, but is always atmospheric and consistent. There are red herrings a plenty to be found, but thankfully, they actually work and don't feel too forced or ambiguous. Morally however, I do believe it's confused at points. Some may find real problems with our amateur sleuth being what we would now call a sexual predator. Just like Fulci's Don't Torture a Duckling and Bido's The Bloodstained Shadow, there's a real sense of distrust to Catholicism here. It would be morally corrupt (HA!) of me to go in to detail, so I will just say that wether the killer is indeed a priest or not, the fact that a character would don the disguise of a priest says a lot. There have been much more eloquent writers who have covered the aspect of Catholicism in cinema, Shelley F. O'Brien's essay Killer Priests: The Last Taboo makes for interesting reading! Moving away from that, what really struck me about Solange was how aesthetically satisfying the experience is. It's no surprise that Morricone's (Do I really need to name drop here?) score is amazing as always with so much range, but quintessentially Morricone. Chances are, you heard extracts of the score before even being aware of the film itself. That combined with some fantastic cinematography from Joe D'Amato (Porno Holocaust), who also has a fun cameo in the film, makes London feel melancholy, yet beautiful and ultimately mysterious. I'm reminded of the empty morning streets found in Bido's Watch Me When I Kill as I watched.

  I said that the film goes from sleazy to violent, that's true. That being said, aside from some genuinely nasty sexualised deaths, the gore is somewhat restrained and often fuels the imagination of the viewer. Those looking for flesh will be very happy with this as there is plenty of schoolgirl action throughout (especially some innocent, yet seductive shower fun). There are plenty of sleazy characters about too. The film is a great example of having some sinister themes and overall nasty moments without it being trivialised by being too exploitative. Plenty of directors could have just gone for all out gore and overly graphic sex. There's a real sense of maturity throughout. Considering that is a somewhat early example of the gialli, I really found this film to be quite a head of its time. We all know that Mario Bava drew up the plans and Dario Argento began building on the foundations, but as much as I have heard many great things about this film, I don't think this film gets the overall credit it deserves. Of course, it's not classically considered a perfect film and even I almost cringed at some of the British dubbing, so many silly accents. All in all, this is an entertaining, often shocking thriller that has to be seen.

Thankfully, the film is presented beautifully both in terms of picture and sound. We have a 2k restoration that is pretty much flawless. Both Italian and English dubs are included with the Italian being the better quality of the two. In terms of on disc special features this is a fantastic release. First of all we have newly edited interviews with Fabio Testi and producer Fulvio Lucsiano from 2006, a new interview with Karin Baal, in which she has some interesting things to say about the film, a fantastic video essay from Michael Mackenzie that looks at Dallamano's “Schoolgirls in Peril” Trilogy, a trailer and to top it off an audio commentary with Alan Jones and Kim Newman.
Of course, Arrow have included a booklet with writings from Howard Hughes and Art Ettinger and reversible artwork with a fantastic piece of art from Malleus. Overall, this is a must buy for fans and newcomers. If you are yet to dip your toe in to the world of the gialli, this is a great place to start! For the people who had to buy that cheap cardboard sleeved version on Amazon (you know who you are!), you can throw that version away now!

What Have You Done to Solange? Is available as a DVD / Blu-Ray combo from Arrow Video.
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Vinegar Syndrome Review: Demonoid (1980, dir: Alfredo Zacarias)

DEMONOID
(1980, dir: Alfredo Zacarias)
“Up from the depths of hell comes the ultimate horror!”

  Samantha Eggar (The Brood) stars as Jennifer Baines a woman who is visiting her wealthy industrialist husband Mark (Roy Jenson, Soylent Green) in the small city of Guanajuato, Mexico. Mark is currently planning to reopen a mine which is is rich in silver. Unfortunately for him, his workforce is comprised of superstitious locals who refuse to go deep in to the mine. To prove everything is fine, Jennifer suggests that the pair go deep down in to the mine, but they get more than what they bargained for; a severed hand. “The Devil's Hand” to be precise, with their workforce even more terrified, things surely can't get any worse can they? Yes. Yes indeed! It becomes infinitely (and fatally) worse! You see, the severed hand has the power to not only posses the left hand of its victim, but the person themselves. Eventually turning them in to a bloodthirsty, super strong killing machine. After Mark is taken over by the demonic force, he kills himself in the hopes of stopping the curse. With her husband dead, Jennifer travels back home to L.A where he is buried only to find he has risen from the grave and the demonic force is on the loose. With the help of Father Cunningham (Stuart Whitman, Night of the Lepus), the priest whose cemetery Mark was buried in, Jennifer begins her quest to conquer over evil and put an end to demonic forces once and for all. Let the obscene battle between good and evil begin!

First things first. What you just read was an abridged version of what happens in this film. I'm not one of those reviewers who gives a play by play record of events because what's the point if you know too much? With a film like this, you will thank for me for being somewhat vague. If you thought the basic plot for this film was absurd, just you wait until you actually watch the film. To say there are some obscene moments would be an understatement. Get ready for wonderful deaths, some absurd moments and twists that will do nothing but please. A film like this naturally has some wonderful acting on display and the script; penned by four separate writers, will have you balling. Yeah, this is a film that's to be taken as seriously as a clowns' funeral! How the heck the likes of Samantha Eggar got involved in a film like this is beyond me, but I am very thankful for it! Aesthetically, the film isn't anything to shout about. It's pretty much by the numbers in terms of cinematography, not one of Alex Phillips Jr's (King Solomon's Mines) most memorable efforts. Editing from Sandy Nervig (Pocahontas) serves it purpose, but what does stand out is the fantastic score composed by Richard Gillis (The Bees) and the effects from Robert A. Burns (The Hills Have Eyes) and Chubby Cordero (their only credit). Both of these aspects add so much charm and could be argued as the most accomplished aspects of the production. The score and effects range from being charmingly simple to outright imaginative and well executed. Overall, this is a hokey sort of film that should be experienced even by the exploitation fan who has seen everything.I think this would be a great film to watch alongside Raw Force! I should also mention that Russ Meyer fans will appreciate seeing the lovely Haji (Supervixens) make an appearance!

 Overall, Vinegar Syndrome have done a great job with the restoration and presentation of the film. Of course, it's not perfect due to either the condition of the negatives used or the actual cinematography itself (I hope I don't sound like I'm shitting on a guy like Alex Phillips Jr!). That being said, it's no issue at all because hey, this is the first official DVD / Blu-ray release of this film! In terms of extras you also get the complete international cut of the film; Macabra. This is a completely different and extended experience. It loses some of the gore as well as the intro and replaces it with more dialogue, story and an extended ending. The score is also different in places. It's a great extra to have and has gone under the same high quality restoration and presentation processes.Not only that, but you get the option of French or English dubs, with subtitles of course. Alongside that there is an insightful interview from the director himself as well as a selection of trailers, a TV spot and reversible artwork. All in all, it's a great package for a film that surprised and entertained this jaded horror fan. It's a great upgrade to that bootleg you used to own as well as being a great release for someone experiencing the film for the first time.

Demonoid is available as a DVD / Blu-Ray dual format release from Vinegar Syndrome and can be streamed on Exploitation.tv.
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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: Frightmare (1981, dir: Norman Thaddeus Vane)

FRIGHTMARE
(a.k.a THE HORROR STAR, BODY SNATCHERS)

(1981, Norman Thaddeus Vane)

“There was Bela Lugosi, Boris Karloff, Lon Chaney, and Conrad Ragzoff! They were all stars who lived and died. But only one returned...”

  Fandom  takes on a whole new meaning when a group of film loving college students decide to pay the ultimate respects to their favourite horror icon, the recently deceased Conrad Radzoff (Ferdy Mayne, Barry Lyndon). How do they do this? Hold a memorial? Have a Radzoff horror marathon? Nope, they decide to steal his freshly buried body and give hime the ultimate farewell house party back in their mansion! Like most cases however, this is one of those instances were one of your heroes is actually an arsehole (Cough-Tom Savini-Cough!). You see, Radzoff had an often fatal temper. Not even a cameo from Leon Askin (The Robe) is safe! To make matters infinitely worse for our group of corpse stealing cinephiles, Mayne decides to carry on his bloody streak from beyond the grave. One by one, the students learn a valuable lesson; let sleeping corpses lie (see what I did there?, especially if they happen to be a bloodthirsty prima-donna!

  Frightmare is a somewhat unique experience. A supernatural slasher that although rather straight-faced, is still fun and doesn't take itself too seriously. That being said, in between Radzoff dying and him picking off the students, the film does plod a little. It's still a very solidly directed and written film however. There's some solid cinematography that utilises light perfectly from Joel King (The Mighty Ducks) and an atmospheric score from Jerry Mosely (Blood Tide) who should have gone on to do greater things as the score seems to take reference and pay homage to many horror film scores of yesteryear, as well as being contemporary with some fantastic synth work. All in all, aesthetically the film ticks all the boxes. The deaths, although not too graphic are staged and executed solidly thanks to the work of Jill Rockow (Pirates of the Caribbean) and Chuck E. Stewart (Con Air). The star of the show is of course Ferdy Mayne. Sure, he can be campy as hell in his performance, but it works perfectly within the context of the film. A role intended for Christopher Lee (Dracula: Prince of Darkness), Mayne fills the boots perfectly and even though we see clips of young Ragzoff, it takes a minute to realise it's actually footage of a young Christopher Lee. Although a despicable character, it's so satisfying to see him kill the group of unlikeable students. This isn't because of bad writing, it's because they are complete douchebags. Within the group of students we have performances from a young Jeffrey Combs (Re-Animator) and Luca Bercovici (Drop Zone). The film is really well cast and everyone puts in a great performance, no matter how significant their role is.

  If you're a fan of horror cinema that deals with horror cinema, this is a film you must watch. Thanks to film historian David Del Valle, the film itself is littered with actual props and memorabilia. From the poster of Lucio Fulci's Zombie Flesh Eaters to the decapitated head of Frank Zito from Maniac. There is so much to ingest in that regard. Not only that, but there are typical horror tropes and references throughout for the seasoned horror fans out there to discover. All in all, I enjoyed Frightmare more than expected. Sure, it won't change your perception of the slasher genre, but it has enough there to warrant repeat viewings. In terms of the release, I can't say I've seen the previous Troma release, but from my research, Vinegar Syndrome have done a great job upgrading this film in both a visual and audible sense. Don't get me wrong, it's not Vinegar Syndrome's greatest effort, but it's still a lot more than most labels would do. On the disc we have two commentary tracks; one from The Hysteria Continues and one from David Del Valle and David DeCoteau. There's an archival audio interview from Vane himself prior to his death, an interview with cinematographer Joel King, original theatrical trailer and reversible artwork showcasing The Horror Star artwork. It's a great release for both fans and newcomers.

Frightmare is available as a DVD & Blu-ray combo from Vinegar Syndrome and available to stream on Exploitation.tv

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Vinegar Syndrome Peekarama Review: The New Erotic Adventures of Casanova (1977) / Casanova 2 (1982)

THE NEW EROTIC ADVENTURES OF CASANOVA (1977, dir: Carlos Tobalina)

  John Holmes (Eruption) stars as John, a man who has recently inherited and sold off the estate of his late great grandfather. Looking for something of a keepsake, he visits the antique dealer (Tory Jeffery, The Autobiography of a Flea) and is given a bottle of cologne found in a desk. The cologne belongs to great Casanova and was used to scent his love letters. He applies some to his clothes and this leads to the first of many sexual encounters, this time being with the cleaner of the motel he is staying at. Once getting dirty with cleaner, he visits his family while he's in town. Unfortunately (or fortunately, depending on your preference) the effect of the cologne rubs off on them, leading John to literally rub off on them. Yes, even his underage cousins fall foul to magic of this scent. John is telling his story to his therapist, Dr. Sharpe (Susan Silver, Casanova 2). Initially skeptical of John's story, she gives the cologne a whiff and well, we all know how this story (and in this case, the actual film) ends.

  Starting off very promising with a good sense of scope and seeming to have an actual budget thanks to costume design (always had a thing for women's costumes from this period, classical music and location photography which admittedly, is mainly thanks to footage lifted from Bud Yorkin's Start the Revolution Without Me. Yeah, Donald Sutherland (Don't Look Now) is clearly seen within the film's opening sequence. Even with that, the films has a sense of “legitimacy”. Unfortunately, the film loses its charm when we cut to present day. Don't get me wrong, John Holmes is fantastic throughout. He plays the role of Casanova so well and is genuinely smooth and charismatic, even when he's partaking in Monty Python-cum-Benny Hill sword fights! It just becomes your typical Tobalina fodder. Don't worry, there's group scenes and once again, themes like underage sex and incest are dealt in an almost tongue in cheek fashion. Thankfully seeing the likes of Jane Goodman (unfortunately her only role) and Sandy Pinney (The Pony Girls) soften the blow. All in all, this is a much more classy affair from Tobalina. The king of missed opportunities strikes again.

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CASANOVA 2
(1982, dir: Carlos Tobalina)

  After a recap of Casanova's exploits, we find our smooth talker talking on three aggressors with his sword (ha!). After they are defeated, he discovers one is a woman (Cathy Linger in her only role). Seeing that she is still alive, he takes her to the nearest house and demands a doctor. With the outlook for the fallen swordswoman bleak, there seems to be a silver lining; the woman who fetched the doctor is named Myra (Bridgette Felina also in her only role unfortunately), who at 16 was deflowered by none other than Casanova. The pair reminisce and the swordswoman in her potentially final hours wants to be impaled once again. After this weird little threesome we are told that the swordswoman birthed Casanova’s son, Don Juan (Bjorn Beck, another one hit wonder). Fast forward to Don Juan on his own journey showing off his sword skills (in both senses, just like daddy!). He finds himself sorting out some family problems for Count de Léon (Rick Ardon, Sadie) and his wife Isabella (Jessie St. James, Vista Valley PTA). After that we fast forward to where the first film finished. John is now in a relationship with Dr. Sharpe and they decide to commercialise the cologne, which has some rather surprising effects changing John's life forever!

  Although mainly comprised of recycled and unused footage from the first film, the sequel is actually an improvement. It's nothing amazing and still has that purely for the money Tobalina feel, but the film just works better. The film takes an interesting turn and even though there is A LOT of what you could assume is previously existing and unrelated sex in the latter third, it makes sense. If Tobalina is one thing, he is shrewd. One cannot fault him that regard. Once again, John Holmes steals the show, but it's nice to see the likes of Kay Parker (Taboo) and Bill Margold (Dracula Sucks) make a brief appearance. Once again, there's a sense of scale and shows the creative potential of Tobalina. It was also surprising to see just how many cast members had only this as their credit. There is some real talent on show throughout and a lot potential big names in the making. Maybe just like Tobalina, they were looking for a quick pay-check. Overall, not a bad effort at all and one of Tobalina's better productions which surprises me because knowing of Tobalina's work and the fact that this is a sequel five years after the original, it could have been a complete mess.

Overall, this isn't a bad pairing of films. Sure, they reek of the aspects of Tobalina that most can't stand, but this is when cutting corners and uses cheap tactics works for me. It's done well and reminds me of one of my favourite directors; Bruno Mattei. The biggest thing for me is the way the films are structured. If you were to take all the period elements of both films and edit them in to a cohesive story, you'd have a genuinely good period adult feature. You could then take all the present day story and have that edited together into a cohesive sequel. I think the films would work much better in that regard. That being said, I could happily watch this double feature again. Vinegar Syndrome have once again done a nice job on restoration and presentation. Sure, it isn't perfect, but it's much better than what some would say Tobalina deserves. In terms of extra features, you get trailers for both films. If you have become disheartened with Tobalina or have yet to experience his work, I would highly recommend this release.

The New Erotic Adventures of Casanova and Casanova 2 are available on DVD from Vinegar Syndrome or online to stream at Exploitation.tvPDx