This Eurociné production of a Jesus Franco movie is centered around a nice little jazzy theme by Daniel White, and the idea isn't bad... A remake of Franco's LA MUERTE SILBA UN BLUES (aka 007 Opération Jamaïque), shot in the sixties, this one has a stunning cast composed of Jesus' regulars.
The locations are gorgeous; it's hard not to be amazed by some of the shots and camera angles. Since Franco is no longer under the strict laws of censorship, the lascive scenes are multiplying, being maybe one of the low point of the movie. Alice Arno and miss Romay are sure a lot of fun to look at, but when erotism interfere with the storyline and slows it, it's a bit annoying.
There is almost no humor here - apart from some of the dialogues and a surprising Franco cameo where he appears as a crazed guru shouting catastrophic predictions all around - and it's what makes the atmosphere interesting. Being used to see Olivier Mathot take off his pants in a flash, I couldn't help being puzzled by his stoned faced performance.
The theme of the dead guy coming back to face his murder has been used many times by Franco - somehow eerily in VENUS IN FURS - and is almost banalised here. No one wonders how Freddy Carter he managed to survive.
Echoes of other Franco movies surface here and there, particularly in a cabaret scene featuring Lina Romay and a statue, a scene which was later re-used in TENDER FLESH, involving the plastic Amber Newman instead.
Overall a fascinating movie, with a lush jazzy score by Daniel White that perfectly fits the mood and pace of the film.
The locations are gorgeous; it's hard not to be amazed by some of the shots and camera angles. Since Franco is no longer under the strict laws of censorship, the lascive scenes are multiplying, being maybe one of the low point of the movie. Alice Arno and miss Romay are sure a lot of fun to look at, but when erotism interfere with the storyline and slows it, it's a bit annoying.
There is almost no humor here - apart from some of the dialogues and a surprising Franco cameo where he appears as a crazed guru shouting catastrophic predictions all around - and it's what makes the atmosphere interesting. Being used to see Olivier Mathot take off his pants in a flash, I couldn't help being puzzled by his stoned faced performance.
The theme of the dead guy coming back to face his murder has been used many times by Franco - somehow eerily in VENUS IN FURS - and is almost banalised here. No one wonders how Freddy Carter he managed to survive.
Echoes of other Franco movies surface here and there, particularly in a cabaret scene featuring Lina Romay and a statue, a scene which was later re-used in TENDER FLESH, involving the plastic Amber Newman instead.
Overall a fascinating movie, with a lush jazzy score by Daniel White that perfectly fits the mood and pace of the film.