Sarentrol Masterful Cinema

Acensbart Excellent but underrated film

CrawlerChunky In truth, there is barely enough story here to make a film.

Derrick Gibbons An old-fashioned movie made with new-fashioned finesse.

markwood272 Saw via DVD 7/23/17. One of Franco's best works, in a class with the best of Mario Bava or Dario Argento. The film is his distinctly personal take on the myth of the animated (or re-animated) as homunculus (cf. Caligari, Golem, Frankenstein). The movie achieves strong pathos when the young heiress encounters the monster, a Freudian moment combining the beauty of Agnes Spaak with the terror of a vintage Lon Chaney reveal. The cinematic technique is assured, with especially masterful use of lighting and camera angles. The black and white photography is as visually striking as Franco's Eastmancolor "Vampyros Lesbos" (1971). Anticipates Lynch while looking back at Franju's "Eyes Without A Face"(1959) with maybe some Antonioni thrown in here and there – who knows? As in the other Franco movies I've enjoyed, great soundtrack and music, with the master himself in a keyboard cameo in a jazz dive. Essential film for Francophiles, but maybe also a good starter work for viewers simply wanting a break from Bunuel (yes, they met, according to this website).

Mikel3 Last night we watched 'The Mistresses of Dr. Jekyll'. It's a 1964 Jesus Franco film with his usual offbeat scenes and characters that I like. At least I'll say I liked them from this earlier point in his long career. One of his later films I recently viewed 'Killer Barbys' from 1996 was barely watchable. I tend to agree with those who say his early work was his best. Mr. Franco died very recently so my wife and I, watched this film in his memory.One thing about the story struck me right off, there is no well known Dr. Jekyll to be found anywhere in this story. At least not the infamous Dr. Jekyll and Mr. Hyde we expect from the title. There is a Dr. with that same last name and no relation it seems. I have a feeling this last name was added later to help promote the movie as something it is not. I'm even doubtful there was more than one mistress in the story for this Dr. The title implies he had many. There is an alternate title 'Dr. Orloff's Monster' that's at least less misleading even if Dr. Orloff is only in a couple of very short scenes. Jekyll created the monster using Orloff's idea. I assume this is the same Orloff from Franco's other films. Orloff appeared to be on his deathbed at the beginning of the story telling his sonic sound secrets to Dr. Jekyll. Much later in the story we see Orloff looking healthy again; evidently he had a miraculous recovery off camera. Personally I think a more fitting title for this would have been 'The Zombie's Daughter'. Yeah, I guess that doesn't hold the titillation factor the "mistresses" title has. Hey, if Dracula and Frankenstein can have films about their "daughters" why not a zombie (wink)? But enough already about the title used. The plot is a bit slow moving and contains numerous excuses to show seductive women performing in night clubs. I expect that from Franco he does seem to appreciate the beauty of women. This was supposedly filmed in Spanish, if it was the dubbing to English was well done. The strange thing is it looked like the actors mouths were in time with the dubbed English words they were saying. I thought they had spoken the dialog in English and maybe it was later dubbed in Spanish for that market, just a thought, I have no facts on it. The zombie in the story is animated by some nonsense about using ultrahigh frequency sounds. I had to laugh at how they explained this like it made perfect sense. I also wondered why he wasn't being followed about by packs of dogs also hearing the sound. The victims are given a necklace that somehow attracts the monster. This is also explained by the police like it made perfect sense. The best part of the film was the zombie character; he was a cross between a slightly melting wax figure face and the mesmerized man in the silent 'The Cabinet of Dr. Caligari'. He has similar unblinking wide open eyes. The plot as I understood it involves a Dr. Conrad Jekyll who catches his supposedly beautiful young wife in bed with his better looking brother. His brother had been visiting and was seduced by Jekyll's wife. He kills his brother and makes it look like a failed operation he performed. He lets his own wife live after witnessing the murder, over the twenty or so years that follow she becomes a drunkard. We never learn why she hasn't told the police. Many years after the murder is when the film takes place. There is a brief flashback to what happened earlier. Dr. Jekyll now has a mistress on the side. Why he decides to use his zombie like creation for killing her and other night club performing women is beyond me. Oh, did I mention the zombie is the body of his dead brother? He somehow still looks relatively good considering how long he's been dead; he even walks through night clubs freely. At one point the Dr.'s college student niece comes to visit him. This is the daughter of the brother he killed 18 or 20 years earlier. She never knew her father since he died when she was young. She sees a photo of dear old dad for the first time. A photo her aunt still keeps of her lost lover. I guess her mom didn't keep any photos of him. After a few days the alcoholic aunt finally tells the niece the story of what really happened to her dad and of their brief passionate affair. The Zombie dad will not harm his daughter and even saves her life. Beats me how he recognizes this grown woman is his little daughter from years earlier. I won't spoil how it all ends except to say it's appropriate.The film did hold our interest and was pretty much what I expected. I enjoyed it for what it was. I like the offbeat nature of Spanish and Italian made horror films. Early in his career Franco make some decent ones. I'll remember him for those.

Witchfinder General 666 The incredibly prolific Spanish Exploitation deity Jess Franco made his greatest films in the early days of his impressive career, and the series of 'Dr. Orloff' films are arguably his most essential creation. My choice for Franco's most brilliant achievements are the 1962 original "Gritos En La Noche" ("The Awful Dr. Orloff") and the 1966 second sequel, "Miss Muerte" ("The Diabolical Dr. Z."). While this first 'Orloff' sequel, "El Segreto Del Dr. Orloff" (aka. "The Secret of Dr. Orloff" / "Dr. Orloff's Monster" / "Dr. Jeckyll's Mistresses") of 1964 isn't nearly as good as the two aforementioned films it is yet another wonderfully atmospheric and macabre mad-science-themed Gothic gem, that no Franco fan could possibly afford to miss. Sadly, this film doesn't star Franco's Nr. 1 leading man Howard Vernon, but the full-bearded Marcelo Arroita-Jáuregui, who also had a role in "Miss Muerte", also does fine in the role of the mad scientist Dr. Conrad Fisherman (credited as Dr. Conrad Jeckyll on IMDb).***SPOILERS!*** "El Segreto Del Dr. Orloff" is set in my home country Austria. The beautiful orphaned girl Melissa (Agnès Spaak) is visiting her scientist uncle Dr. Conrad Jeckyll (Marcelo Arroita-Jáuregui) and his drunk wife Ingrid (Luisa Sala) in their eerie castle over the Christmas holidays. Along with his mentor Dr. Orloff, Dr. Fisherman has been developing a manner of how to control the minds of animals and human beings with the help of sound. What young Melissa does not know, is that her mad uncle keeps her late father (whom he once murdered for having an affair with his, then beautiful, wife) as a zombie slave. Using the mind-control methods developed by Dr. Orloff and himself, the mad scientist forces his late brother to strangle a bunch of strippers, prostitutes and other sexy women... Luckily for Melissa, she isn't quite alone in this dangerous situation since a lovesick fellow student, the Spaniard Juan Manuel (Pepe Rubio), has followed the young beauty to the small village...The eerie castle setting and Franco's wonderfully atmospheric black and white cinematography give "The Secret of Dr. Orloff" a wonderfully uncanny mood. The film is creepy and macabre, and, as the other 'Orloff' films it is a milestone in European Exploitation/Sleaze-Horror. Many of the sexy female cast members get topless and even naked, which was definitely not the standard in the first half of the 60s. As the other "Orloff" films, the film also includes some sadistic perversions, which, again wasn't quite the standard (though it began to be around the time). As fun this film is to watch, one has to say that it isn't entirely flawless. "The Secret of Dr. Orloff" often doesn't make sense. Unlike "The Awful Dr. Orloff" and "The Diabolical Dr. Z", for example, this film doesn't give us a reason why its villain commits his evil deeds. For one reason or another, Dr. Fisherman uses his zombie slave brother to kill seductive beauties. But for what reason? It cannot be for scientific reasons, because they don't keep the bodies. And if it was out of sadistic perversions, wouldn't he want to be present during the killings? These inconsistencies are in no way lessening the fun, however. "El Segreto Del Dr. Orloff" isn't Jess Franco's best film, but it is a nice example for the atmospheric films from his golden age. Recommended to my fellow fans of Eurohorror and Jess Franco in particular.

goblinhairedguy If you've suffered through some of the hack work Jess Franco cranked out in the last two decades, you may find it difficult to believe that he once took some pride in his craft and evinced a certain mastery of cinematic technique, as well as a modicum of discipline. "Dr Orloff's Monster" is a case in point. Despite the title, it bears no direct relation to the creepy and perverse opus, "The Awful Dr Orloff", which put the director on the map back in the early 60s. However, it shares the same doom-laden aura -- with the expected (but always riveting) kinky asides -- that so resemble that earlier picture as well as the German Edgar Wallace 'krimi' series which was reaching its peak at the same time.The picture is rife with carefully-executed camera angles and atmospherics, something that would become anathema to Franco's slash-and-burn methods of the 80s. The best scenes are reminiscent of (dare I say) Lewton and Franju. It builds up a strong pathos for the title character, thanks to a subtle, wordless portrayal that evokes Cesar in 'Cabinet of Dr Caligari' and Christiane in 'Eyes without a Face' (such homages were a Franco specialty). There is a particularly poignant sequence in which the zombie stumbles about near his own tombstone in a bleak, wintry cemetery. No matter what depths Franco's movies plunged to, they always offered a few wonderfully oddball cabaret scenes in smoky jazz or rock bars, and this is no exception. One singer performs a wacky, rhythmic Latin ditty that must have sparked the imagination of the members of the retro band 'Les Rita Mitsouko'. (These cabaret scenes were a welcome staple of the Euro-thriller genre of the 60s, also perking up the krimi series, several of the campier works of the Italian Gothic revival, and especially the outlaw melodramas of Jose Benazeraf.)There are already foreshadowings of the director's latter-day carelessness -- a few too many zooms, cutting from the middle of one scene to another, and a general neglect of motivation. And, of course, he'd end up doing the revenge plot to death. But overall, this one (along with the much more perverse 'Sadistic Baron von Klaus') comes highly recommended for Franco skeptics and genre fans alike. Surprisingly, this film was immediately followed by his magnum opus, the delirious 'Succubus' (aka 'Necronomicon'), which in its pseudo-sophisticated Radley-Metzger-like style is miles removed from the Gothic horror of his early work.