The Sex of Angels / Il sesso degli angeli (1968)

This wicked looking poster for the nominally X-rated Italian/German drama The Sex of Angels and the Google plot synopsis, which reads “young women steal a yacht and kidnap a young man and spend a weekend having sex and doing drugs,” really aren’t all that misleading, although there’s a lot more to the story. The poster also exaggerates the situation, as what is depicted is rather the result of a conundrum brought on by irresponsibility followed by an even more irresponsible course of action. 

The setup to The Sex of Angels is, of course, an appealing one to the male fancy. Being seized by three beautiful modern-day angels and taken on a boat ride into the endless summer of ’68? Why not? It sounds like a good time, and for the most part it is, but in trying to postulate what the film might be trying to say with its outcome, I can’t help but put it in the context of ‘60s youth counter culture and the sexual revolution and see it as a cautionary tale of seduction and widespread use of LSD and what I thought was a kind of critical impression of the behaviors of the “sexually liberated.”

Alice or the Last Escapade / Alice ou la dernière fugue (1977)

I’ve been a fan of Alice in Wonderland since I was a kid, although I didn’t read Lewis Carroll’s Alice books until I was an adult, which was prompted by my first viewing of Jan Svankmajer’s Alice (1988), and ever since reading them I’ve been pretty enthusiastic about keeping an eye out for films inspired by or adapted from the books, which was what attracted me to the French surrealist film Alice or the Last Escapade in the first place. I thought the film did a pretty good job at creating an interesting new take on Alice in Wonderland (without actually being about Alice in Wonderland) while also being a bit derivative and having an ending that viewers will no doubt have seen before that I still thought was beautifully executed. It’s also very much of the ‘70s Eurocult sensibility and a product of its time, but it feels like there’s also a little something here for everyone, including the curious Alice in wonderland fan (who doesn’t mind a lightly inspired non-adaptation), and even the surreal, the arthouse, or even the gothic horror fan.
 

House of the Damned / La loba y la Paloma (1974)

House of the Damned is that generically titled, sort of misleading, pleasant delight that reminds me of why I still enjoy exploring near-forgotten Eurocult films from decades past with the word “House” in their titles. It’s far from the traditional haunted house horror and is more of a peculiar seaside murder drama that still hits a lot of the right notes for Spanish horror fans. The translation of the Spanish title is something like The She Wolf and the Dove, which I think is referring to Sandra and Maria (played by Carmen Sevilla and Muriel Catalá), the two main female characters who are also featured on the different regional title posters.

Which one of them is supposed to be the wolf and which one is the dove?

The Dunwich Horror (1970)

Before AIP’s The Dunwich Horror, a 1970 film adaptation of H.P. Lovecraft’s horror novella The Dunwich Horror from 1929, not a whole lot had been done yet to try and bring Lovecraft to the screen. The Haunted Palace from 1963 is partially based on The Case of Charles Dexter Ward; Die, Monster, Die! from 1965 is a loose adaptation of The Color out of Space; The Shuttered Room from 1967 is an adaptation of August Derleth's story of the same name that was inspired by Lovecraft, and The Crimson Cult from 1969 only takes mild inspiration from Dreams in the Witch House. As far as I can tell, The Dunwich Horror is the first film to be a faithful attempt at a direct title adaptation of an HP Lovecraft story. Not surprisingly some liberties were taken with this film, such as updating it for the late '60s, early '70s, but that’s always to be expected. I do think the The Dunwich Horror movie, for its era, does do Lovecraft justice, even if it doesn’t quite live up to the novella.

It was filmed in Mendocino California, a small coastal community that kind of passes for a New England looking town. I don’t think there was any kind of ocean near Dunwich in the original story, but the seaside connection is suitably Lovecraftian and serves the film well, as it’s usually filmed at night to look dark and ominous with unseen horrors.

The stylish occult and satanic animated intro credits set to the classical and catchy main theme by Les Baxter is a great start that gets you into both a ‘70s and a Lovecraft mood. It has a cartoony and imaginative way of painting the ceremonial birth of the main character Wilbur Whateley on Sentinel Hill. Even the film's detractors agree that this animated segment is terrific.

Sex of the Devil / Il sesso del diavolo - Trittico (1971)

How could any Eurocult horror fan resist being attracted to a movie with a poster like this and a title like Sex of the Devil? Whether or not the movie delivers what it promises on the cover is another matter, but when beholding such an epic, suggestively satanic, occult, and erotic poster like this one (centering on what I thought looked a little like a possessed Mia farrow), a spectacular fantasy of a movie is birthed in the mind of the observer, one that is often very different from the movie in reality, for better or worse. I admit to initially being attracted and baited in to this film based solely on this poster. Sex of the Devil not surprisingly turned out to be something other than I had imagined, and if it weren’t for that advertisement I may have never found it. So basically, the movie poster did its job, and I slowly fell in love with another movie.

Despite not being what I expected and bearing the usual pacing and plot resolution issues, Sex of the Devil still delivered the goods, and, in the end, it ended up delivering what it promised on the poster as well.

A Whisper in the Dark / Un sussurro nel buio (1976)

A Whisper in the Dark is a personal favorite of mine. It has been referred to as the Italian The Turn of the Screw (1898) and is a subtle take on the haunted family category of storytelling, focusing on a wealthy family living in a gorgeous and at times spooky villa that’s like a hotel resort (probably because it was filmed at a hotel, the five-star Hotel Villa Condulmer near Venice). It’s got that gothic horror aesthetic but downplays the horror in favor of exploring family dynamics with shades of the supernatural that are symbolic of unresolved family problems. The supernatural is always kept ambiguous; almost everything strange that happens can be explained, but the circumstances do leave a lot to the imagination. As is usually the case, the ambiguity is the film’s strength and its weakness.

The cinematography by Claudio Cirillo is really the main attraction, and with Marcello Aliprandi’s direction, the visuals, coupled with Pino Donaggio’s sweet and melancholic score, end up being the stuff of fairytales, comprising some of the most majestic locations and set pieces. The villa and its somber exterior and grounds, dating back to the sixteenth century, have a deep, haunting presence, a rich sense of past generations emanating from it. And the children’s ball is an enchanting segment, with costumes and constantly falling confetti, which concludes with a phantasmagoric night time burning of an effigy floating on the river. According to Cirillo the different weather conditions, such as the foggy atmosphere seen during the opening credits, were by chance. Listening to Cirillo vibrantly talk about his craft on the NoShame DVD interview, you can tell the man is an artist.

Daughter of Dracula / La fille de Dracula (1972)

Jess Franco filmed Daughter of Dracula back to back with the preceding film Dracula, Prisoner of Frankenstein (1972). These two films seem similar and for me were sometimes easy to confuse with one another, but after reviewing them both back to back, I realize they are quite different in many ways. Unlike the previous film, the eroticism is amped up this time around, particularly with the love/feeding scenes between Franco regulars of the era Anne Libert and Britt Nichols. It isn’t necessarily the monster mashup like the previous film since for monsters we just have Dracula, a femme vampire, and a mystery killer. Perhaps it’s more of a Eurocult genre mashup, as this one has a reputation for being confused as to whether it wants to be an erotic vampire horror film or a giallo-like murder mystery.

Daughter of Dracula doesn’t quite reach its potential, but it’s nonetheless a relaxing Gothic horror with a captivating modern ‘70s setting in an old-world location that provides the right ambiance us Eurocult fans can’t get enough of.

Howard Vernon reprises his role as his own odd, unique, near-lifeless version of Count Dracula from Dracula, Prisoner of Frankenstein. He’s even less active here, but Britt Nichols and Anne Libert get more to do this time around, even if Nichols’ vampire scenes may’ve soared a little more in the preceding movie.

Dracula, Prisoner of Frankenstein / Dracula contra Frankenstein (1972)

Jess Franco had already covered Dracula by directing a movie adaption of Bram Stoker’s seminal Gothic horror vampire novel from 1897 a couple years prior. So, what does Jess do next when returning to make another Gothic Count Dracula movie?... Take the Universal route and throw Dracula in with other classic monster figures, like Frankenstein and The Wolfman, to have a go at it and see who would win in a fight.

With Dracula, Prisoner of Frankenstein, the familiar monster mashup style gets the Jess Franco treatment, which is essentially Classic Universal horror in color with Franco’s flavor of visual and hypnotic storytelling, yet for a Jess Franco film, the eroticism is quite tame, with no nudity to be found. It adapts certain elements from Bram Stoker’s Dracula for the Dracula angle, but the Frankenstein angle borrows more from Franco’s own The Awful Dr. Orlof (1962) and less from Mary Shelley’s Frankenstein.

Curiously, the opening text, credited to David H Klunne (a Franco pseudonym), is pretty much a poetic and short synopsis of the film, rather than some sort of backstory setup to get viewers up to date, like an opening Star Wars crawl. That’s OK, because there isn’t really a whole lot to spoil, since the experience of the film, in this case, is a little more important than the story, which I think isn’t necessarily hard to follow, but it doesn’t really sink in either since there is a lot of visual depth, atmosphere, and cool ideas in what is a slow and thin plot.