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The Awful Dr. Orlof (1962)

Gritos en la noche (original title)
Approved | | Horror, Thriller | 2 December 1964 (USA)
Dr. Orlof, a former prison doctor, abducts beautiful women from nightclubs and tries to use their skin to repair his daughter's fire-scarred face. He is assisted by Morpho, a deformed ... See full summary »

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(story) (as David Khune),
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Cast

Cast overview, first billed only:
...
...
Wanda Bronsky / Melissa
Howard Vernon ...
Perla Cristal ...
Arne
María Silva ...
Dany (as Mary Silvers)
Ricardo Valle ...
Morpho Lodner
Mara Laso ...
Irma Gold
Venancio Muro ...
Jean Rousseau
Félix Dafauce ...
Inspector
Faustino Cornejo ...
Jeannot
Manuel Vázquez ...
Klein
Juan Antonio Riquelme
Fernando Montes ...
Malou (as Fernando C. Montes)
Elena María Tejeiro ...
Ursula Camila
Javier de Rivera
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Storyline

Dr. Orlof, a former prison doctor, abducts beautiful women from nightclubs and tries to use their skin to repair his daughter's fire-scarred face. He is assisted by Morpho, a deformed monstrosity who delights in biting his victims. Orlof had better hurry, though -- a young police inspector and his ballerina girlfriend are onto his sadistic practices. Written by Christo Hoffmania <choffman@reed.edu>

Plot Summary | Add Synopsis

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You'll get an insight into the face of terror! See more »

Genres:

Horror | Thriller

Certificate:

Approved | See all certifications »

Parents Guide:

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Details

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Language:

Release Date:

2 December 1964 (USA)  »

Also Known As:

The Awful Dr. Orlof  »

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Technical Specs

Runtime:

| (banned)

Sound Mix:

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Director Cameo (Jesus Franco): Man playing piano in bar. See more »

Goofs

In the English-dubbed version a female witness said about the perpetrator that "he walked like a robot". The story was set in 1912, and the word "robot" first appeared in a Czech science fiction play in 1921. The writer was Karel Capek. See more »

Frequently Asked Questions

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User Reviews

 
Franco's first horror film

Jess Franco's breakthrough film is a straight retelling of Yeux San Visage, albeit with some of the poetry removed and a more straightforward 'thriller' structure added. It's probably Franco's most 'normal' film, with only only a few of the the sleaze diversions that became the raison d'etre of his work from then until the present day. However, look closer and you can trace his obsession with nightclubs and mirrors (put to best effect in one scene in Vampyros Lesbos!) back to this film. Overall, a little on the long side for today's audiences, but a very important taboo-busting film at the time, and contains some very good cinematography, occasionally in an almost bava-esque style.


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