BLOODY MOON

BLOODY MOON

Jess Franco's filmmaking career has been accentuated by dramatic emotions that are mirrored by extreme content, breathtaking visuals, and a boldly experimental style. His greatest, most personal pictures are eccentric in tone and technique, giving one the impression that he is more of an artist than many would first suspect, seeking to please his own obsessions before the expectations of audiences. Even his more tame efforts bare the mark of a unique personality. That he often finds beauty in grotesque atmosphere, sadistic sexuality, and harsh violence puts him in the same mould as the literary Decadent movement of the Yellow Nineties. Extreme is the one word that best summarizes Franco's approach, so it is a pleasure and learning experience to see what the director can accomplish when he works within a pre-established genre template. In Bloody Moon, Franco joined the ranks of European exploitation specialists who sought to contribute to the Slasher format. He succeeds in both satisfying the aesthetic demands of that genre as well as keeping true to his own fetishes. Inspired as much by the visual and storytelling conventions of the giallo as the slasher, this slick and surprisingly coherent story presents a more commercially accessible Franco.

Rayo Casablanca's script (more about THAT on the Commentary) satisfies all the sordid requirements of the slasher formula, including numerous opportunities for decapitations, S&M, and voyeurism. In addition, Franco takes advantage of the sleazier psycho sexual Gialli elements to serve his fetishistic streak. In an obvious homage to Halloween, scarred-faced Miguel plays musical bed with an attractive bimbo at a party, gets her in the sack wearing a Mickey Mouse mask (hiding his identity), and summarily stabs her to death with scissors. Years later, after being released from an insane asylum, he returns home to his sister-lover Manuela who now runs a posh school for girls. Manuela and Miguel live in rich style thanks to their wealthy Aunt. The oversexed female students give Miguel plenty of opportunity to leer and drool. Before long a series of shocking murders occurs, with suspects including Miguel, Manuela, the idiotic handyman and the gardener. Along the way we're treated to the bizarre sight of Manuela jiggling her breasts at the full moon and a wonderfully distasteful incestuous relationship as she teases her already unhinged brother. Angela, a new student, enters this bedlam and tries to convince the authorities of her danger after witnessing her friend's murder. As the murders increase so do the oddities and graphic viscera. Is the mad Miguel responsible for these atrocities or is it someone less obvious? It doesn't really matter, because this film is more about style than substance and while the plot is decently strung together, the gory spectacle is really what you came for.

Bloody Moon celebrates the voyeuristic thrills of the Slasher while owing a debt to Gialli for its psycho sexual focus and characters motivated by greed and economics (ala Mario Bava). Franco has reached cinematic levels of artistry startling in their excess and -- more often than not -- shocking in their dark, hash-hish smoking beauty. This potboiler is revered by gore enthusiasts for its brutal and graphic violence. Throats are cut with gusto, stabbings are mucho messy, and the most infamous scene of a girl sawed in half is captured with the wild eyed delight of a sadist. Sexual depravity is just as apparent, adding a sense of uneasy titillation to an already sordid story. A celluloid Penny Dreadful for the eighties, this bloody pleasure lacks the philosophical speculations and personal experimentation of such classics as Venus In Furs and Female Vampire but holds its on in both terms of story and approach when compared to similar projects of the time. The script is traditionally linear, illustrating how commercially viable Franco can be when he wants to be. Lacking the raw poetry of Franco's more visionary works (Virgin among the Living Dead), Bloody Moon is nonetheless a treat for both Slasher and Franco fans, and is brought to the States by Severin uncut, complete with the scenes that landed it on the Video Nasties list.

Bloody Moon has endured a home video history as butchered as its titillating death scenes, with nary a good looking print to be found. Grey Market trading was often the surest way to go, a solution no longer necessary thanks to the efforts of the most consistent DVD company out there. This transfer, taken from the original negative, is superior to any other home video effort. Featured in 1.85:1widescreen, the picture is clean and without any major flaws. Colors are bright and vibrant throughout. Audio is featured in the original English Mono track, which lacks any outside interference and is crisp and clean. Extras are limited to a Theatrical Trailer that nicely captures the sleaze effect of the film and "Franco Moon," an interview with the director, who addresses the musical score, the mystery behind the scriptwriter's name, and how he attempted to inject some humor into the story.

Review by William Simmons


 
Released by Severin
Region 1 - NTSC
Not Rated
Extras :
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