Jess Franco at his near-best

The Awful Dr. Orlof (aka "Screams in the Night") (1964)
Starring: Howard Vernon, Diana Lorys, Conrado San Martin, Ricardo Valle, Maria Silva, and Perla Cristal
Director: Jess Franco (as "Jess Frank")
Rating: Five of Ten Stars

A former prison doctor turned mad scientist (Vernon) is abducting party girls with the intent of grafting their skin onto the body of his daughter who was horribly burned in a fire. A none-too-bright Police Onspector (San Martin) is assigned to catch him, but it's the Inspector's lovely girlfriend (Lorys) who does much of the detective work to break the case... and then falls into the maniac's clutches.

If you've ever wondered what Hammer Films' celebrated gothic horror flicks would have looked like without the touch of an brilliant director like Terrence Fisher, you don't have to look any further than "The Awful Dr. Orlof".

What we have here is a film that's pretty damn good by the standards writer/director Franco sank to later in his career, but when compared to other entries in the gothic horror genre from the late 1950s and early 1960s, it's visually flat, unevenly plotted, and generally un-engaging due to the fact that we never get a real sense of how the various characters in the film fit together. Sure--we know the Inspector and his ballerina girlfriend are soul-mates, but why on earth do Dr. Orlof's henchmen stick with him? Why did he break them out of prison in the first place? And why is he using a blind man to help him with the killing--it's a creepy twist, but it doesn't make a whole lot of sense. Without knowing the answers to these, we never really understand what motivates half the film's main characters... although it's clear Franco thinks we should empathize with them for some reason or another.

This film could have been a crushing bore if not for some fairly effectively staged murder scenes (featuring hints of the gratuitous nudity and sadism that is a hallmark of most of Franco's and the occasional visual flourish where Franco takes full advantage of the black-and-white medium. (The still above is taken from the very best of these... a scene so effectively lit and staged that it's what made me think of Fisher's efforts for Hammer Films.)

"The Awful Dr. Orlof" was not as bad as I had expected it to be, but there are far better films in this genre to check out before you get to this one. That said, I suspect Franco fans will love it, if they haven't already checked it out.

Tony DeZuniga dead at 71

I have just heard that another of my favorite artists has died.

Tony DeZuniga, whose artwork graced the pages of just about any comic book genre you care to mention--passed away today in a hospital in his home country of the Philippines. He was 71. The cause of death has yet to be announced, but he had a stroke this past Tuesday and was already suffering from pneumonia.

I am particularly fond of the work he did on DC's and Marvel's horror titles; DC's "V", "Arak", and "Jonah Hex"; and Marvel's "Fool Killer" mini-series (even if he was unceremoniously and rudely dumped from the title before its completion) and "Conan" black-and-white magazine material. John Buscema reportedly did not like the way his and DeZuniga's styles interacted, but I thought they made a great combo. I also thought he was one of the best inkers for Carmine Infantino... as much as I loved Infantino when he was inked by less "heavy-handed" artists, DeZuniga had a knack for making Infantino more accessible to those who might not otherwise appreciate his unique style. (Their collaborations in the pages of "Spider-Woman" and "V" are ones I was particularly fond of.)

Here are some samples of DeZuniga's artwork. Click here to see other posts featuring some of his art, as well as reviews of graphic novels featuring his work.

Picture Perfect Wednesday: Three Norns in One

A random photo of silent movie star Lillian Gish.

Picture Perfect Wednesday:Who's that girl who's looking (mostly) normal?

Does anyone know?

Picture Perfect Wednesday: The Substitute Easter Bunny

Hilary Swank is ready and willing to step in should the Easter Bunny be unable to perform his duties.

Cover illo for the latest ROLF! supplement

ROLF!: Escape From Eden is available from RPGNOW.com and DriveThruRPG.com for a measly $0.50.

Why We Honor the Easter Bunny!

He brings eggs that are the source of Badge- Booth- and Playboy Bunnies, as proven by this photo!

April 8th is Easter Bunny Day! Today is Exclamation Point Day!

Tone Loc: Wild Thing

Workin' all week 9 to 5 for my money
So when the weekend comes I go get live with the honey

Happy 70th Anniversary, Casablanca!

I've been told that today, March 21, 2012, there are numerous theaters across the United States that are showing "Casablanca" on the big screen in celebration of the film's 70th anniversary.

I hope you're lucky enough to have it showing somewhere near where you live. If you've never seen this fine film--which stars Humphrey Bogart, Igrid Bergman, Paul Henreid, and Claude Rains, and tells the tale of an American in Nazi-occupied Casablanca who is forced to choose between love and righteousness when he has the opportunity to regain his old flame by letting her resistance-fighter husband fall into the hands of the German-allied Vichy-French.

With its near-perfect balance between suspense, comedy, and romance, this film is a great example of the kind of films that once made Hollywood great.

'Over-Exposed' is nice showcase for Cleo Moore

Over-Exposed (1956)
Starring: Cleo Moore, Raymond Greeleaf, Richard Crenna, Donald Randolph, and Isobel Elsom
Director: Lewis Seiler
Rating: Six of Ten Stars

An arrest for vagrancy ends up leading to a young woman (Moore) to discover that she has a talent for photography. She parlays that talent in to wealth and fame, trampling on supporters and friends as she climbs her way to the top. But at the pinnacle of fame, she becomes a target for the mob when she witnesses a murder.

Despite showing lots of talent, actress Cleo Moore seemed to have been treated more like a pin-up girl than an actress by studio publicists. In films where she had bit parts, such as "Women's Prison" she was all over the promotional material in varying states of undress, and in films where she was the lead, such as this one and "One Woman's Confession", sex appeal also seemed to be emphasized over anything else.

And this is rather a shame, because I think Moore had greater talent as an actress than she ever really had the opportunity to show, and I think that is exhibited best in this picture than any others I've seen her in.

Moore's character goes through several stages during this film and she gets to portray a range of emotions... always tinged with a mixture of hardness that seems born from a rough life rather than any sort of emotional or mental defects. In a couple of scenes, she is particularly effective in showing emotional pain with some rather subtle acting that manages to keep the audience's sympathy for her character as she behaves like a bitch to those who care for her. Moore deftly keeps the character on the side of seeming tragic while a lesser actress might have caused her to come off as pathetic.

Moore is supported by good performances from the rest of the cast, especially from Raymond Greenleaf as the burn-out drunk who becomes Moore's gateway to the world of photography and who rediscovers his own gift while helping to develop hers. Greenleaf's character is kindhearted and funny, and is so likable that viewers will almost despise Moore's character for not making a greater effort to keep their relationship intact later in the film.

I probably would have rating this film a 7 if not for the ending. Given it was made in the 1950s, I suppose it comes as no surprise how things turn out for Moore's character, but couldn't the screenwriters have paired her a more manly man? Richard Crenna's character spends most of the movie whining and being obnoxiously insecure (possibly even jealous) about Moore's success. Sure, he punches out a few gangsters, but it still seemed wrong that Moore should give up her career for someone like that.