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Maybe it was just there, perhaps, to numb the sometimes outrageous imagery or bizarre storylines with. There was an art to Franco’s mish-mash of trash cinema too; a certain auteurship and experimental approach – a distinctive blending of image and sound, and it's little surprise he worked alongside such renowned directors as Orson Welles (on Chimes at Midnight in 1965) in his formative years, having spent a lifetime of a childhood watching movies in darkened rooms alone, or composing music – along with film, his other greatest passion.Franco's films, of which there are a great many to choose from within nearly every genre of storytelling known to screenwriting-kind, and a few that are probably quite new and unknown – were once obscure, but now have big fat box-sets and special editions sold at HMV and Amazon devoted to this man’s mad work.Orloff, played by one of Franco's male muses - Howard Vernon (and my god - the things Franco made that poor man do over the years).Orloff remains Franco's most personal character throughout a series of films featuring the mad doctor.
His cinematic world centres mainly around the likes of: monsters and madness, vengeful lovers and the virgin dead, sapphic sex and Sadean sadism, mad scientists and nymphomaniac maids, female Tarzans, jungle zombies, campus killers, Portuguese nuns, wicked wardens, frisky Frankenstein monsters, sinister plastic surgeons, pesky boy pirates (ok, guess that one’s family-friendly!De Sade wasn’t just a writer of unthinkable smut; some of his work is as gothic and ghostly as those writers with far better literary reputations, including Edgar Allan Poe.Franco seemed to understand this better than anyone, and focus on the gothic and ghostly aspect of the author’s work as often as he did the more predictable, controversial trappings – and he certainly did dabble in those murkier areas with relish as well.This one man history of cinema started an entire working film industry in that sometimes frail-looking body of his.
But like the rarer songs of ABBA when one plays on the radio – you know who it is singing the song straightaway, even if it’s not one you know. Clearly nobody else made films like he did, or perhaps they just didn’t want to.
But it’s probably the controversial works of The Marquis de Sade, often rewritten with some warmth, and loosely interpreted, that inspired him the most over the years with such films as: the experimental, modern-era Franco - Helter Skelter (2000); the languid and not as lurid as you’d expect Gemidos de Placer/ Cries of Pleasure (1983) and the masterful Eugenie (1970) that had Christopher Lee star as Dolmance, leader of the corruptible games on display, with Swedish sex symbol Marie Liljedahl in the title role, her sweet scorpion-stung pout set to stun.