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Flores de la pasión (2005)
Las Flores de Jess Franco
To obtain 'the Flores' was not easy, spent the months and at the end they was arrived. In principle they seemed two films, but both were carried out by the same poker of actresses: Fata Morgana, Carmen Montes, Rachel Sheppard and Lina Romay, also they were both produced by Manacoa, the own producer of Jess.
The same music, the sound track of Jess & White, the same location, a room in a hotel of Malaga, and surely rolled at the same time, one in the morning and the other in the evening. By all this dared to me to surely consider that it was the same structured film in two parts, something that already happened also in 'caverna', .then it is a film of 191 minutes, one of the films longest of the history.
Indeed, both films present/display the minimum argument and the maximum of naked, we could say that a naked argument in all dimensions appears to us. On the other way always I have considered that within the films of Jess hides ancestral secrets that can arrive to release our minds and to transfer us to other deep spaces.
I cannot avoid the disquieting relation, tribute without a doubt, of 'the Flores' de Jess with 'the flowers of the Evil' de Boudelaire, and the poem Lesbos (v):
Really these verses describe the kisses of the protagonists and surely it is a fantasy of the very same Jess that narrates placidly with long scenes of naked bodies, open and humid sexes of happiness. Adding a scene where Fata shaves the sex of its partner, remember its practices of 'Vampire Junction'. This scene is repeated in the second part how reference to texts of Sade in which it says that the sex of the woman is so beautiful that not hide-and-seek can after three sad hairs.
I dare to suggest the argument is other,and more complicated.
Indeed, Sheppard is watching its future, while remembers where it enjoyed the company, moments that are discovered in the second part 'the flowers of Pervert ion'.
The first scenes of 'Flowers of Pervertion show the happy moments to us of the Lina-Sheppard pair in the bed, but then the doublings hidden desires of Lina towards the perversion bring about the explained rupture of the first part.
In this second part narrates like the female leader of club, the two personage of Lina, recruit to new whores that they are those that Raquel had been looking in the first part from the window of its apartment. Having been able to verify all their 'sexart' in the previous film, Raquel recommends to the funny lesbians for the position of women of happy life.
The female leader uses to the pair of lesbians whores so that they torture a man. At the moment they appear, voice in off, the writings of Sade in all their fullness, asking the women who detest and assassinate the men, because they do not need them and they are hairy and sweaty.
The tortures to whore are extremely sadistic: they crucify it, they bite sex eagerly to him and they violate in the end it with a hook. The crucifixion, in symbolic sense, talks about to the key suffering of the contradiction and the ambivalence: penance and salvation or the condemnation. Thus the Cross between the Moon and the Sun, like contrast of sexes that in addition set out consequent and the antecedent of the life, the past and the future.
Lina, not satisfied with this execrable test, asks the innocents (¿x?) young people who also martyr to a poor man until the death by castration, its manly member in the end forces and them to eat, in an ancestral rite of cannibalism to obtain the energy of the enemy, the eternal power and the glory.
Raquel see horrified as Lina has become crazy, is not forgiven to have given to the two girls to that one irrational bloody madness and returns to its apartment from where it watches with his prisms binocular the neighboring perverted ones, from its past, in a temporary curl, there where the same essence of the universe twists.
In the end Sheppard commits suicide throwing itself by the window, or tunnel of the time, to fall between the sweepings, and from its floor the happy pair observes astonished this macabre epilogue, and to return immediately to the bed and to continue with its sexual acts. Although in the following scene they mix Eros and Thánathos, to remember to us that the life and the death always together , and in the film they connect with a lesbian kiss.
With 'the Flowers of the Passion' and 'the Flowers of Pervert ion' we discovered 'model Jess', a music, erotic movements, naked bodies, a combination of impossible planes, that they are possible to be recombined of diverse ways to construct a multiple and eternal film.
When already you take more than three hours of film and your fixed eyes in the screen observe the dance of the attractive bodies in fine lingerie, with the music of basic jazz and the special effects bombing of colors your eyes, you arrive at a hypnotic state transfers that you to other dimensions. It is then when you wake up to you suddenly outside your body and you are observed there same seated, in the armchair, place setting of dust and with a Coca-Cola Light illuminating your hand. And around you choir of angels they develop weird dances until becoming demons who attack to you cruelly.
Your heart is accelerated, the blood flows, and to fine the Light.
Midnight Party (1976)
The best Lady
All histories have their internal logic, and all the films of Jess are reasonably illogical. In order to begin in this film of 1976 Jess he uses pseudonymous of Tawer Nero, in clear reference to Julio Perez Tabernero with whom he signs the script, that as it is custom it is not most important, or perhaps the direction, which is not clear. Anyway the presentation of the titles of credit with the images of a sensual performance of night club, and the appearance of the name of the director between the naked chests of the protagonist, yes is typically 'Francyne'. Lady Porno counts the eventful journeys of Sylvia, Lina Romay, the artist of night club that naked of principle to aim throughout the film, being its sex from all the possible angles, and trying positions that later the Ojete DE Lulú' will show in '. In this sense the title could have been sure because the real protagonist of the film is the sex of the protagonist: ' Is like a bunny that single hopes a caress to open itself to the tenderness.... and that will tender. Sylvia is invited to a celebration by a pair to participate in one orgies. After Demetra sexual of the loving triangle, once again with Mónica Swing in one of the vertex, one awakes and it finds to the assassinated pair. When he tries to escape is kidnapped by another even stranger who becomes crazy to undress it, to violate it and to lick sex to him, until his head arrives Janos Radeck, a cripple, ugly, and no hands that a allemande one speaks peculiar Spanish. This personage incarnated by Jess is a clear tribute to the Dr Strangelov, of the famous film of Stanley Kubrik ' Red Telephone... we flew towards Moscow ' , carried out by Peter Sellers. From this film of Stanley Jess also he takes his sense ironic and amused to narrate his history of spies and detectives between delirious kidnappings, violations and murders. In principle Lady Porno shows the typical erotics scenes of the films of Jess and it is not possible to be classified of pornographic, although it is for greater of 18 years. The films porno of Jess were rolled in the decade of the 80, and in the 70 they were of moaned teats, asses and of pleasing, although as Jess says, the border of the pornography is only question of the type of plane that you use, and ' franking' is 'Private' aside from all the well-known and aided to know. This one is a film in which Lina watches the camera and directly explains to the spectators its feelings and thoughts, with its sharp and worldly worse language . Of this Jess form it plays with the film within the film, like Vermeer paints a picture within the picture, both with the sincerity of the creative genius that knows that its work finalizes with the action of the spectator. In this sense the words of Radeck are revealing, in a scene where it is telephoning (red telephone) it says: ' I am 008, I call to him to explain the true death of Joe....... hatred to everybody... (leaving the accent German, watching the camera and taking off the glasses) you you think that I am an audacious international agent, are not idiot, see me kindly and they will realize that my true profession is the one of actor ' The film is solved like one ' road movié, with all in movement between persecutions, firings and deaths. The spectator can be died of laughter or remain exited by the explicit samples of meat and sex, until arriving at the éxtasis with the final scene, a disturbing scene in which Sylvia very shamelessly masturbate, and the camera looks for eager the fingers whipping clitoris for a shaved sex. Then if we discovered to Lady Porno, because in that naked scene nothing is simulated and everything gets dressed that obscenity that portrays our reality of repressed desires, to end a wink of complicity and a kiss to the spectator. PD :'Impure vulva lost in your deserts between the ruins': Sara Ross
La fille de Dracula (1972)
La Fille De Drá-CULA
I yesterday finished visionary the film of Frank Jess called ' the Fille De Dráculá. He was peculiar, because the film was in subtitled French and in English. But these things are the normal thing in the case of Jess, in that the important thing is the franquiana atmosphere, and where knowing all the references and symbolic apparatus the coarse film director to understand it everything. This film of 1972 takes the labels of Lesbian Sex, Female Nudity, Lesbianism, Beautiful Woman and Female Vampire, of which we take control an idea of its content. Once again it conjugates several of his significant elements: the woman vampire, the views of the beach, and of course, the essential number of the night club in which she appears a winding sensually at sight interesting dancer, and the kind eyes of watching onlookers. I believe that a film of Jess without this scene of the night club and the onlookers does not exist, because if she does not appear us we can imagine easily. In fact this mitotic scene to the Great Voyeur that all we took inside, at least the followers of Jess, that forces to us to enjoy the naked bodies and erotics rites in the dark. The original argument relates the history of a young person, Luisa Karlstein, that visits its aunt in the deathbed, which between death moans reveals to the young person the curse of the family: the first count was a vampire. Then he appears in scene incredible Count Howar Vernon, in the paper of Count Karlstein, who in the filmografía of Jess is just like to say Count Drácula. In fact he is not appraised or if it is really Howar or a mask of characterized Howar of Drácula, that yes, incredible the characterization... is had to do, and I would bet that he is the best one of all the Dráculas that I have seen, pity that Howar not between in action, surely rolled the planes a weekend in its house so that Jess inserted them in the film. Also its appearance like one of the personages is characteristic of Jess, in this case like Cyril Jefferson, that it represents a species of occultism with the syndrome of Casandra. The feminine protagonists who delight with their lesbians scenes son to us Britt Nichols and Anne Libert, of which good reference in others becomes blogs. As she is natural Jess relates a history to us in which the important thing is not the argument, in fact the personages are immersed in a mystery, but they are not worried in solving it, and Jess either, because what really it wants it is to show a dance to us of erotics images that, without arriving at the soft-porn, they do not wake up our libido and they soil our glance. The permanent tribute that makes Jess to the feminine body, from the respect and the admiration, is one of the characteristics of the cinema of Frank Jess that not yet has been valued sufficiently. Spirit of sexual revolution has not valued itself either in east Jess that woke up in years 70 and 80 of the last century, and that at the moment continues being of the rigorous present time. I do not say any triviality if I describe the work of Frank Jess like an Eternal and Universal being that represents the Junguianos Archetypes of the Humanity.