Paroxismus

Jazz musician Jimmy Logan finds the dead body of a beautiful girl Wanda Reed on the beach outside his home in Istanbul, a girl he recognizes from a party he was at the previous night. Jimmy is haunted by her vision and memories of how she was raped and tortured at the party and how he didn't step in to help. Two years later he is now living in Rio and finally has his musical career back on track, but he is stopped in his tracks when a woman who appears to be Wanda walks in to the club where he is playing, is it really her, can she still be alive or is it all a dream. Bizarre, trippy, love story with some Noir overtones, it has a fantastic jazzy score that creates a hypnotic mood, its beautifully filmed with a striking use of colour, touches of sadomasochism and lesbianism add even more to the mix, there's even time for a great twist or two at the end.

Super-prolific Spanish exploitation director Jess Franco is often bashed as being merely a creator of cheap trash - which is a preconception that only people who are not familiar with all of his work can take. Sure, the man's impressive repertoire of more than 180 films includes more than a few stinkers, but Franco also made several films that are downright brilliant, especially in his earlier years. "The Awful Dr. Orloff" (1962) and "The Diabolical Dr. Z" (1966) are two of these films, and "Paroxismus" aka. "Venus In Furs" of 1969 definitely also belongs in this category. "Venus In Furs" is a bizarre, sleazy and amazingly artistic Exploitation gem that mixes Horror, Mystery, sexual perversion and great music in an obscure and highly memorable manner. The casting of Klaus Kinski in a typically demented role and sexy Maria Rohm as the eponymous Venus are by far not the only aspects that make "Venus In Furs" a must for cult-cinema lovers.

When walking along the beach in Isanbul, a Jazz trumpeter (James Darren) stumbles across the body of a young woman. He recognizes her as a girl who was assaulted by a rich playboy (Klaus Kinski) and two others. He travels to Rio, where he meets Rita (Barbara McNair) a foxy black bar singer who becomes his girlfriend. In Rio, he also runs into a young woman (beautiful Maria Rohm) who is the spitting image of the dead girl from the Istanbul beach.... I do not want to give away too much of the, sometimes confusing, plot, but I can assure that it is highly obscure and very interesting throughout. The English title, "Venus In Furs", is also the title of a novel by Leopold Sacher-Masoch. The film has nothing to do with the novel, however, the title refers to the character played by Maria Rohm. Rohm is incredibly sexy and mysterious at the same time. Barbara McNair, who is also responsible for the best parts of the great score, makes another great female character. The female cast members are all beautiful, and, as in is the case with most of Franco's later films, the film provides sleaze, female nudity, lesbianism and perversions, though not as explicitly as many of his later films. It also provides ingenious surrealism, obscure mystery, psychedelic imagery and delightful weirdness of all sorts. The great Klaus Kinski (one of my all-time favorite actors) is once again brilliantly demented in his role, and James Darren fits well in the lead. One of the greatest aspects of the film is the great score, especially memorable is the 'Venus in Furs' sung by Barbara McNair herself. "Venus In Furs" is an obscure and bizarre gem that is ingenious in many aspects and should disabuse all the Jess Franco-haters out there. To some people, this is Franco's best film. I would still give that title to either "The Awful Dr. Orloff" or "The Diabolical Dr. Z", but this film is doubtlessly also a must-see for everyone interested in cult cinema, and an absolute proof for what a great filmmaker Franco is. 8.5/10

As likely to be heralded in certain circles as a preeminent figure of stylish erotic Eurohorror as he is to be dismissed as a hack-of-all-trades and purveyor of Eurotrash, often both at the same time given his gargantuan and largely uneven filmography and depending where your affections lie, Jesus Franco if nothing else at least can't be brushed aside easily. If Oasis of the Zombies gives valid claim to the second, Venus in Furs does the same with the first.

A jazz player discovers the body of a woman washed up in a beach in Istanbul. Weirdness ensues. Not really 'meaningful' weird, the kind of weird that suggests a certain insight to be gleaned from closer inspection, but 'captivating' weird, 'hallucinogenic' weird, the kind of weird where you buy the ticket and are happy to be simply swept along for the ride. The movie seems disjointed at first, haphazard, low-key voice-over narration transporting us through time and space back and forth until plot and story cease to exist in any one given level. Yet it doesn't take long for a sort of inner rhythm and flow, jazzlike and hypnotic, to emerge. Suddenly we're in a ritzy party and Klaus Kinski is peering wide-eyed into the camera. The dead woman is now alive, scantily dressed and being flogged in a dimly lit basement by Kinski and two of his friends. From Istanbul to Rio back to Istanbul, the strange woman seems to be exacting some kind of revenge while she keeps a love affair with the horn player on the side.

For all the casual languid randomness, Franco seems to know what he's doing. Not narrative speaking so much as in terms of atmosphere and overall ambiance. The camera constantly zooms back and forth, the movie pulsating with a jazz vibrato. Shots from the primary narrative (the actual story) are later repeated inside a flashback (fantasy? reverie?) making the boundaries between present and past tense blur hopelessly, turning the linear into cyclical. Something which is further compounded by the bizarre ending where I think Franco reaches for more than he can grasp and comes up mostly with straws. That combined with the little epigraph superimposed over the screen brings the movie down a notch because it reduces the heady surreal noir that precedes it into a "so it was all..." conclusion. By openly stating what we've been suspecting, that everything exists in someone's head and adheres to the fragmented laws of dreams and memory, Franco robs us of the pleasure of understanding for ourselves.

Thirty years down the line Venus in Furs is more likely to appeal to fans of Alain Robbe-Grillet and David Lynch than Eurohorror hounds, the emphasis here being on mysterious rather than grotesque.

Trumpet player, Jimmy Logan (James Darren) is haunted by an enigmatic woman who looks identical to a woman named Wanda Reed (Maria Rohm). Jimmy knows it can't be Wanda, because she was murdered. A nightmarish mystery unfolds, as Wanda's killers are "visited" by this woman, and Jimmy is swept away by her. Is any of this really happening?

Arguably, one of Director Jess Franco's best films, VENUS IN FURS is a sort of surrealistic, erotic noir / revenge / ghost story. The jazzy soundtrack also plays a big role, nearly making this a musical! The lyrics, "Venus in furs will be smiling!" will pop into your head for weeks after seeing this movie! Ms. Rohm is utterly captivating, dominating every scene she's in.

Co-stars Klaus Kinski as the perverse Ahmed, Margaret Lee as the wicked Olga, and Barbara McNair as the long-suffering Rita...

then I'll never watch another franco movie. I was excited to see this by the reputation and the American title (shades of Leopold von Sacher Masoch)and all I saw was fifteen minutes of good film (the first 15) and then a bunch of stock footage,nonsensical dialogue, and BS plot development. I needed more dungeon scenes or more masochism, and less stock-footage/VO mental masturbation. I was sorely disappointed. Some might say "You should see it stoned", well, I did, and that didn't improve things. Someone compared this to "Lost Highway", and to them I can only spit derisively. I'd rather watch a Dolph Lundgren movie. How that guy still has a career is more honestly surreal than this stuff.