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El siniestro doctor Orloff (1984)

The son of the infamous Dr. Orloff clashes with his father when he begins to stalk and dismember prostitutes in order to get parts to reanimate his dead mother.



(screenplay), (story)


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Complete credited cast:
Dr. Orloff
Alfred Orloff (as Robert Foster)
Rocío Freixas ...
Melissa Orloff / Muriel
Antonio Rebollo ...
Inspector Mario Tanner (as Tony Skios)
Rafael Cayetano ...
Andros (as Raf Smog)
Juan Soler ...
Malou (as Juan Cozar)
Ángel Ordiales ...
Perico (as Teo Santander)
Maria Paz Uceda ...
(as Tina Page)
Maria Amor Olmo ...
(as Mery Olsen)


The son of the infamous Dr. Orloff clashes with his father when he begins to stalk and dismember prostitutes in order to get parts to reanimate his dead mother.

Plot Summary | Add Synopsis








Release Date:

18 June 1984 (Spain)  »

Also Known As:

The Sinister Dr. Orloff  »

Company Credits

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Technical Specs


Sound Mix:



Aspect Ratio:

2.35 : 1
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Did You Know?


Follows The Awful Dr. Orlof (1962) See more »


Written by Jesús Franco and Rebeca White
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User Reviews

Orloff has bred a real bad son...

Antonio Mayans is Dr. Orlof, a spanish doctor who's obsessed by his father's past and a woman-hater as a bonus. He stalks and kills prostitutes in order to reanimate his dead mother. His father, played by an aging Howard Vernon, does not agree with these "ethics" and warns him to stop killing. This may be considered as a funny thing since Vernon was the first Dr. Orlof, who did the same thing in the '62 Franco classic GRITOS EN LA NOCHE, except that he was peeling off his young victim's faces to heal his daughter.

Yes, Jesus Franco seems obsessed by this theme he first saw in LES YEUX SANS VISAGE by George Franju. He did countless versions of this movie over the years, including his recent (2001) remake of GRITOS with Paul Naschy in the lead role ! He also did a version, in '88, called FACELESS, with a big budget and a fabulous cast (Florence Guérin, Brigitte Lahaie, Telly Savalas, and Vernon once more...).

This spanish production is one of the best he shot in the eighties, with an oppressed narration by Mayans, and a very interesting pathological link between the father and the son. The camera work is absolutely fantastic, as always when Franco does not shoot in a hurry, and the haunting keyboard music was composed and played by Il Maestro himself. A personal and highly enjoyable work that'll mostly please to die hard Francophiles.

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