Jean Rollin 1938-2010

In the pantheon of horror directors, there are those whose names only become known to a relatively small yet fervent cult of followers. There are also those whose work transcends the narrow category in which it would seem to have been relegated--it becomes much more than that, especially to those in the aforementioned group. Jean Rollin was one of these. Controversial, possibly misunderstood, yet always intriguing; he and his work have long fascinated fans of exploitation horror. Yet now, it is only his work that remains, as Jean Rollin himself passed away Wednesday at the age 0f 72, after a long illness.

I first came across his work the way I think many fans did, via the bizarre yet beautiful 1978 zombie flick The Grapes of Death--known in his native France as Les Raisins de la Mort. Unusual, beguiling, and rightfully described by many as dreamlike, it remains in my opinion one of the all-time underrated horror films. There is much of Argento in it, or perhaps it is more accurate to say that there is some Rollin in much of Argento's work. I will not endeavor here to put him in the same category as the Italian master of the giallo, but he certainly deserves a lot more credit than he really got.

Of course, much of the Rollin stigma derived from the subgenre of what some might call "Euro-sleaze" that he spent much of his career working in. Softcore (and in some cases, even hardcore) pornography, mixed with horror, is certainly not everyone's cup of tea--especially amongst the mainstream movie-going public (at least in what they'd comfortably admit). Rollin was not always picky with what he worked on, only that he kept working. But we can forget titles like Sodomania or Anal Madness (although that's undeniably a hard title to forget), thanks to memorable films like Fascination (1979), Demoniacs (1973), Lips of Blood (1974), and of course, Living Dead Girl (1982).

"Euro-sleaze" though much of it may be, one cannot deny that it transcends such a limiting stigma. There is true eroticism to his work, mixed with creeping terror, and he achieves a somnambulistic sublimity on occasion that even the most jaded critic would have to acknowledge. While he may not have been among the giants of horror cinema, it is also not hard to understand why his work has accumulated such a loyal following. You will simply not find films like Grapes of Death being made today, and that is a real shame.

Rollin was passionate about film, looking for any way into the business, even going back to his teenage years in France during the 1950s. By age 15, he was writing screenplays, and by 16 he had already taken his first job doing menial work for a local studio. This led him eventually to directing--first documentaries and industrial films, and finally telling the stories he wanted to tell.

He began his sojourn into horror in 1968 with The Rape of the Vampire, already setting the tone for the rest of his career, blending sexuality and the macabre with aplomb. And yes, as the years wore on, he began to take on more questionable projects, veering beyond the erotic and into the pornographic, which he admitted arose sheerly out of the need to keep working. And so work he did, and he can hardly be faulted for that. The man continued making movies right through the 1990s, and was in the midst of a comeback as of late that include The Night of the Clocks (2007) and the forthcoming Mask of Medusa.

We've lost one of the most interesting figures in the history of European horror this week. I will always identify him with The Grapes of Death first and foremost, as I think many American fans might--and I encourage anyone who hasn't seen it to honor the memory of Jean Rollin by checking it out. It really is one of the most unique films in the entire zombie subgenre, and will give you a greater understanding of the man whose work must now live on in his place.

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Visceral Visionaries: Ric Frane

Monsters, pinup girls and danger! Those three subjects, emblazoned at the very top of Ric Frane's website say it all. One of the most exciting genre painters working today, his work--in the grand Frank Frazetta tradition--has been featured on comics, games, books and magazines such as Horror Biz. Focusing on the world of classic movie monsters, as well as fantasy erotica, Frane has worked with some of the most popular models in the genre today, and his work is praised by the likes of acclaimed pinup illustrator Olivia.

I had the pleasure of meeting Ric last month at the Chiller Theatre convention in New Jersey, and he agreed to take some time out to answer a few questions about his life, his work, and what inspires it...

You've been doing art since you were a kid. What first interested you?
I've been doing some kind of art as long as I can remember. People always responded well to what I was doing. My parents never discouraged me. They even found a local place for me to learn painting. Now this was only hobby painting, but I was using oils at a young age and it made me not afraid to try other mediums.

Tell me about your love for Frank Frazetta. What is it about his work that captured your imagination?
We just lost the greatest influence in my life as an artist. I found one of his art books when I was about 13. I never saw anything like it. I knew right then it was what I wanted to do. I tried to copy every one of his paintings. I would do one a night after school using pastels. I wound up giving them to friends at school. Wish I still had some of them. Wonder if they were any good?
The greatest thing about Frazetta's work was his ability to paint so much detail with an economy of brush strokes. There are many detailed plates in his books to view. You can see just how he did it. But no one else can seem to do it. I love his use of color, his exaggerated figures, his compositions, everything. He was a master and will be missed. There is not a genre artist out there that hasn't been influenced by him.

Are there possibilities allowed to fantasy and horror artists that might not be available in other conceptual genres?
Well there, used to be. A lot of cover work was available for novels. Fantasy books usually had artwork on the covers more so than other genres. There is also work in comics and gaming. But that has all slowed down now for everyone.

Tell me a bit about your formal training. What was that like?
I went to the Antonelli Institute of Art & Photography, formally the York Academy of Art.
I was lucky--I had a very good art teacher in high school. We were doing a lot of the drawing exercises I would later do in art school. Learning different painting techniques was the most important part. Learning how to use the paints the correct way and different mediums you can add. Not that you can't break the rules sometimes. But some things are done for a reason.

Your wife is an artist as well. What's that like, do you get competitive?
Not at all. We throw ideas at one another. My wife, Wendy, has been the muse for many pieces of work. We've even painted a few pieces together.

You've done lots of different paintings in various categories. Do you have a favorite subject matter? Favorite piece?
I started out doing fantasy illustrations, but my favorite part of the paintings was always the figure. I love painting the figure. I'm a fan of old school pin-ups. I also love painting classic monsters. One day it hit me. Why not paint both? Two great things that go together.
My favorite piece right now would have to be the one I did of my wife and myself [featured at top]. I did it in the style I do my Monster/Pinups pieces in. Me being the monster. Wendy is the hot model in the leopard bikini.

What draws you in about classic monster movies?
Nostalgia. The older I get, the more I long for those days as a kid watching TV with our local horror movie host, Dr. Shock. Everything a kid loves was in those movies. Monsters, castles, foggy woods. I don't think any of them ever scared me. It was all so foreign looking. They all took place somewhere else at another time.

What is it about Bride of Frankenstein that makes it your favorite?
So much is in it. The monster learns to speak, and you feel for him in this one more than any other movie. And one of the biggest horror icons is born, the Bride. She only has a couple of minutes of screen time, but look how popular her image is.

For your erotic/pin-up art you've worked with many models including Tiffany Shepis. What are the challenges of working with a live subject? Who've been your favorites?
I work from photographs, so I really don't have the problems with having models hold poses. I usually have a few ideas for artwork I want to do and we shoot those. The model's personality helps drive those ideas. I've been lucky that all the models I have worked with have been great.
I would say the biggest challenge is that first picture you take. Trying to get things started. Funny thing is I almost never use that first photo idea. Once things get going, it's artist and model working together to come up with the best image. Tiffany is great at this. I've known her for over 10 years and she is one of my faves. Her face is stunning and she knows how to pose. Another favorite of mine is Asia DeVinyl. A beautiful retro pinup model. She's wonderful at posing her whole body. But my wife Wendy would have to be my favorite. Most of my best pieces involve her.

What makes a painting erotic?
Wow, that's a hard one. I guess it would have to be sexual without showing sex. That could just be a look in the eyes. Hard to answer without a specific piece we are talking about. You just know it when it you see it.

Any major projects you're currently working on?
I have a few things I'm working on, doing a series of pinups with historical figures, and also planning a series based on the seven deadly sins.

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The Vampire and the Nun

This morning I bring you a visually arresting treat from the fashion blog Haute Macabre (brought to my attention by Tenebrous Kate). As a 13-year veteran of Catholic school, I only wish nuns really looked like this, instead of like Regis Philbin.












Twatlight, eat your heart out. For more, visit Haute Macabre.

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