Before there was Emmanuelle, there was Emmanuelle. Emmanuelle Arsan, to be slightly more precise. Marayat Rollet-Andriane to be even more precise still. Born Marayat Bibidh in January 1932, in the city of Bangkok, she was the real-life Emmanuelle.
A fan of silent serials and a precursor to the French Nouvelle Vague, Georges Franju was inspired by the early thrillers of Louis Feuillade when he made the haunting, at times shocking, story of a disfigured woman, a driven scientist, and the horror of physical beauty.
Satan’s midwinter rascalry was combatted by various traditional characters. In The Ukraine, which these days is more concerned with contesting the antics of Vladimir the Bare-Chested Yuletide Goblin, the efforts of Ol’ Nick were foiled by a peasant in a big furry cap.
The story to this point: the good doctor of questionable moral standards, one Baron Victor von Frankenstein (Peter Cushing) escaped the guillotine he was facing at the end of the first film, Curse of Frankenstein, only to find himself beaten to death by angry amputees at the end of the second film, Revenge of Frankenstein.…
Todd from Die Danger Die Die Kill is responsible for many of the best reviews on Teleport City, including reviews of two East German science fiction films produced by DEFA. I got a chance to return the favor (a little) by writing about a DEFA science fiction film, Eolomea, for his site.
After a stormy start, the two become closer, eventually even falling in love — which would be sweet if Hsiao-Chien didn’t turn out to be a ghost, her well-appointed villa an illusion covering a decrepit haunted house, and her mistress a demanding old ghoul with a taste for souls.
“In the near future.” More times than not, it’s a euphemistic way for a science fiction film to say, “We were too broke to afford interesting sets.” Setting a film in “the near future” is a great way to get around a variety of stumbling blocks, not the least of which is a low budget.…