There’s a problem often faced by those of us who chose to both watch and write about the Eurospy films of the 1960s: as enjoyable as they can be, and fun and breezy and cool, there is often very little … Continue reading Ypotron
Fairly or not, Eurospy films are generally regarded as cheap knock-offs of the James Bond movies. But there is cheap, and then there is cheap. Anyone who has actually watched a significant number of these films knows that there are a rare few that don’t appear cheap at all, and even glance — if barely — at the kind of production values seen in the 007 franchise. Others occupy a comfortable middle ground, and are able to succeed as long as their ambitions don’t outstrip their means. Then, of course, there are those on the other end of the spectrum that are so visibly poverty ridden that you almost wonder why the filmmakers even bothered.
While many fans of B-movie and cult film tend to center their discussion of Franco on his horror and sexploitation (though one could argue that all his films fall into this latter category) output, I tend to be more familiar with his action and espionage films– and keep in mind that, when discussing Jess Franco, the term “action” is used in an extremely loose fashion by which “action” can be defined as people sitting in a nightclub watching a psychedelic performance art striptease, or it can mean two people standing silently and staring at a rug for a spell. But the reason I like looking at Franco’s non-horror films is that, within the realm of horror, and certainly within the more narrowly defined realm of European horror, there is already a lot of incompetence and weirdness and a tendency to abandon logic.