And so to Uncle Jess Franco's apparent take on the Dorian Grey saga – 'loose' might describe the link best. Who else but Lina Romay, rarely fully clothed, plays the dual role of Doriana and her unnamed twin sister, born as Siamese twins and separated at birth. The result is that while her sister is mentally defective and locked away in a sanatorium (owned by 'the mysterious Doctor Orloff' who, bashfully, fails to make an appearance), Doriana is apparently sexually unmotivated and keeps her youthful appearance living on blood provided by victims brought to her by her servant Ziros (Raymond Hardy).
And that seems to be the story-line. Amidst the truly beautiful locations there is, for the time by 1976, a hugely increased graphic quality to the regular sex scenes, most of which feature Romay (either solo or with a friend). Franco's camera seems more preoccupied than ever with his wife's genitalia and this becomes more than the usual distraction – it is too invasive, too graphic. It goes someway beyond hard-core scenes featured in such films. The results are almost genealogical! As ever, the acting is uninhibited, especially from Romay who often looks ravishing for the most part, taking into account the explicit, unsophisticated and unflattering sex scenes. The story-line is a slight variation on 'Vampyros Lesbos' or 'Female Vampire', but more gratuitous. The results are uneven; the story itself could have done with more exploration other than in the opening narration, whilst the hard-core elements could have been used more sparingly. Yet this is Jess Franco – who am I to cast aspersions on his very personal vision, other than registering my own personal opinion? Even anticipating the moment when the sisters meet has to be done bearing in mind his penchant for the unexpected. And when it comes, it is perfunctory and brief, especially compared with the X-rated delights before.
He makes great use of a local Spanish storm, the cameras lingering on the huge drops of rain crashing down on usually sun-soaked pathways, and through the ornate windows of the magnificent buildings. Unlike a lot of the intimate flesh on display, that is something you never get bored of looking at.
And that seems to be the story-line. Amidst the truly beautiful locations there is, for the time by 1976, a hugely increased graphic quality to the regular sex scenes, most of which feature Romay (either solo or with a friend). Franco's camera seems more preoccupied than ever with his wife's genitalia and this becomes more than the usual distraction – it is too invasive, too graphic. It goes someway beyond hard-core scenes featured in such films. The results are almost genealogical! As ever, the acting is uninhibited, especially from Romay who often looks ravishing for the most part, taking into account the explicit, unsophisticated and unflattering sex scenes. The story-line is a slight variation on 'Vampyros Lesbos' or 'Female Vampire', but more gratuitous. The results are uneven; the story itself could have done with more exploration other than in the opening narration, whilst the hard-core elements could have been used more sparingly. Yet this is Jess Franco – who am I to cast aspersions on his very personal vision, other than registering my own personal opinion? Even anticipating the moment when the sisters meet has to be done bearing in mind his penchant for the unexpected. And when it comes, it is perfunctory and brief, especially compared with the X-rated delights before.
He makes great use of a local Spanish storm, the cameras lingering on the huge drops of rain crashing down on usually sun-soaked pathways, and through the ornate windows of the magnificent buildings. Unlike a lot of the intimate flesh on display, that is something you never get bored of looking at.