DEVIL'S ISLAND LOVERS/NIGHT OF THE ASSASSINS

Another double-dose of Jesus Franco 'classics' from those fine folk at Tartan Grindhouse ...

DEVIL'S ISLAND LOVERS (a.k.a. QUARTIER DE FEMMES; LOS AMANTES DE LA ISLA DEL DIABLO) opens with scenes of lawyer Lindsay (Dennis Price, THEATRE OF BLOOD; VAMPYROS LESBOS) visiting his old friend, former prison governor Carlos (Jean Guedes) on his death bed. Carlos is wracked with guilt and confesses that he has framed two young lovers for a murder they did not commit.

Through flashbacks we discover that Carlos was madly in love with the pretty Beatriz (Genevieve Robert, DRACULA: PRISONER OF FRANKENSTEIN), who in turn was enraptured in a passionate affair with Raymond Andres Resino, THE WEREWOLF'S SHADOW). Carlos conspires with his late wife's sister Emilia (Danielle Godet, THE ORGIES OF DR ORLOFF) - who just happens to also be Raymond's spiteful Godmother - to set the pair up for the killing of a local woman.

One night Emilia invites the lovers over for dinner. She makes the shock announcement of her impending marriage to Carlos - but what shocks the couple even more is having their drinks drugged and waking up next to a bloody corpse, Raymond still clutching the murder weapon.

Still in flashback mode, we see Raymond and Beatriz on trial. It's here that Lindsay first meets them, acting as their hapless defence lawyer. But despite protesting their innocence, Lindsay cannot save them from being whisked away to a brutal prison on nearby Devil's Island.

Back in the present day, Lindsay is determined to clear his clients' names. He bribes Emilia into getting him visitor's rights at the prison. Once there though, Lindsay is shocked to find pretty convict Rosa (Josyane Gibert, SENSUOUS SLAVES) being tortured - punishment for her part in the young lovers' escape.

As Lindsay looks on wide-eyed and shaking (seriously, Price was very unwell at the time of filming), Rosa gives her account of life in the harsh jail and her friendship with Beatriz.

Very tame in terms of sex and violence, this is an extremely mild addition not only to Franco's roster but also the Women-In-Prison genre. Sure, some of the staple ingredients appear - beatings, whippings, catfights - but sadly there's no nudity, shower scenes or lesbian sessions to be enjoyed here ...

More typical of Franco is the fact that many scenes are poorly lit. And, despite having the gorgeous Alicante scenery to work with, the cinematography is for the most part ugly and uninspired. On top of all this, true to form, prepare yourself for an abundance of Franco's preferred (yet utterly unnecessary) zoom-shots.

Even when Franco regular Howard Vernon (FACELESS) turns up, his role is reduced to little more than an afterthought in the final minutes. And the less said of the politic message fist-fucked into us at the end, the better.

NIGHT OF THE ASSASSINS (a.k.a. SUSPIRI; LA NOCHE DE LOS ASESINOS; NIGHT OF THE SKULL) was one of an amazing 10 films made by Franco during 1976. It's based upon an Edgar Allan Poe story, and spins a simple yarn about an inheritance and the fates of the greedy relatives keen to get their mitts on it.

On a stormy night, the wealthy Lord Marian (Alberto Dalbes, HUNCHBACK OF THE MORGUE) dies at his Manor Park mansion under mysterious circumstances. His widow Cecilia asks her maid Deborah to summon all the relatives to her grand manor, for a reading of the will. Meanwhile, the family attorney Mr Loy discusses the Lord's demise with police inspector Bore - who suspects foul play.

Acting as notary, Loy gathers the relatives and Manor Park employees in the mansion's library one night as per Marian's wishes. Once the will is read, the group are horrified to learn that Marian has left his inheritance to his daughter Rita (Lina Romay, FEMALE VAMPIRE). Just as things are getting heated, Bore turns up and advises everyone that they should retire to their rooms for the evening - he will be quizzing them all about the murder of Lord Marian the following morning.

But, during the night, a caped figure wearing a skull mask prowls the mansion with murder in mind ...

Stylishly lit and benefiting enormously from its coastal locale, NIGHT OF THE ASSASSINS is unusually well-shot for Franco. It's use of colourful blues in it's many nocturnal sequences is striking, as is the hackneyed yet effective use of thunder, rain and lightening as tension-heightening gimmicks.

Of course there are flaws - hammy acting, editing that threatens at times to render the plot wholly indecipherable, and that fucking zoom-lens - but the gothic visuals and storm-swept sounds combine to make NIGHT OF THE ASSASSINS a largely engaging affair. Proof that it's not only Roger Corman who can take Poe and make very enjoyable films out of his work.

Some may find the films in this 2-disc set a little too light on the sleaze, compared to more well-known Franco fare. Indeed, there is barely any to speak of. But both merit a cursory glance as competent low-budget attempts at social commentary-cum-trash art. And they're both so much better than the two FRANKENSTEIN films on Tartan's previous Franco double-bill (review available in the SGM REVIEWS archives).

Both films are presented in anamorphic 2.35:1, and look fine. Apart from the occasional speckles, LOVERS has scrubbed up well with the daytime scenes looking particularly sharp. ASSASSINS suffers from the odd soft image, but is generally a very good, clear transfer with little grain to grumble about.

The Spanish mono audio tracks are equally pleasing. Good quality removable subtitles are available for both films in English and English Hard of Hearing. Each film comes on it's own disc and can be accessed via 16 chapters.

Extras include 31 minutes of alternative footage for the French version of LOVERS, which is much more explicit in terms of torture and female nudity. It's just a shame these have been taken from a very rough old VHS. Still, the French mono soundtrack fares well and removable English subtitles are a welcome addition.

ASSASSINS is short-changed with nothing more than a battered sub-VHS alternate opening-credits sequence. Yes, all 2 minutes of it.

If you love Franco, then it must be great to have these films in good-looking anamorphic widescreen prints and free from BBFC interference. Anyone else will no doubt enjoy them moderately, then most likely never watch them again. Like me, I'm afraid.

Review by Stu Willis