Le sadique Baron Von Klaus

When women are found knifed and gouged in the tiny hamlet of Holfen, everyone suspects the distantly related heir of Baron Von Klaus, a sadistic 17th century baron who cursed the village.

There are some good themes here: the small village, the wealthy but evil baron, and the idea of a family curse. At one point the heir wonders if at some point he will become a killer like von Klaus was. The film does not play into the emotional or psychological very deeply, but it raises that age old question: can you escape your destiny?

I would need to see this film again to give it my full attention and a more thoughtful review. I was not ready for subtitles and could not follow along the whole time. Shame on me.

One of Franco's classiest and most skillful films.

It's also one of his best written films. The characters are consistent and memorable. The actors really get into character because there is a well written character for them to portray. Even the police detective is not a 100% buffoon and is able to say intelligent things some of the time.

The black & white is gorgeous but not as gorgeous as some of his other black & white films. The cinematography is great and uses and variety of shots very well to tell the story.

The story itself was rather predictable. And I wish the villain had more of a chance to shine in their madness at the end of the film.

In the village of Holfen, a number of young women are found stabbed to death by what is determined to be an ancient dagger with a curved and rusty blade . The superstitious locals believe the murders to be the fulfillment of a curse placed on them in the 17th century by Baron Von Klaus, a sadistic libertine who killed many women before dying in the swamps surrounding his castle. The Baron's spirit is said to live on in his male descendants, but Von Klaus heir Ludwig (Hugo Blanco) along with his girlfriend (Paula Martel) don't arrive in town until the day after the latest murder . He is entrusted with a key to his ancestor's torture dungeon and begged to bring an end to the family curse by visiting it, destroying it, and leaving the castle, never to return again. But will he have the willpower to resist the lure of his horrific heritage? . Meanwhile , Inspector Borowsky (Georges Rollin) investigates the strange murders along with a journalist (Fernando Delgado) . There are some suspects , as a doctor (Sergio Mendizabal) and a Baron Von Klaus's descendant called Max Von Klaus (Howard Vernon) .

This average-budget film contains thrills , a criminal intrigue and lots of murders . It's a passable slasher movie directed by prolific filmmaker Jess Frank and also produced by his own production company, Manacoa Films along with Albatros SA . Here Franco manages to give us an adequate ambient , an evocative production design by Antonio Cortes , being rightly narrated , including a murder plot enough to keep you intrigued throughout the flick . Based on a story by David Khune or Jesus Franco and screenplay by Pio Ballesteros , Juan Cobos and by the same Jesus Franco or Uncle Jess . The picture was well starred by good Spanish actors , such as Fernando Delgado , Paula Martel , Gogo Rojo and Hugo Blanco , who subsequently worked for Jesus Franco in "The Secret of Dr. Orloff" . And of course , Howard Vernon , Jess Frank's usual , ordinarily playing Dr. Orloff . The Spanish support cast is frankly fine as Sergio Mendizabal , Maria Frances , Jose Luis Coll and the great Manuel Alexandre , among others . The picture belong to Franco's first period in which he made acceptable pictures such as ¨Gritos en Noche¨, ¨Miss Muerte¨ or ¨Necronomicon¨, developing a consolidated professionalism . However , his career got more and more impoverished in the following years, but his endless creativity enabled him to tackle films in all genres, from "B" horror to erotic films.

Atmospheric cinematography in black and white by Godofredo Pacheco filmed on Northern Spanish locations . Good musical score by Daniel White , Franco's usual musician , including Jazzy soundtrack , wonderful songs and musical numbers . The motion picture was professionally directed by Jesus Franco. However , here he doesn't use his trademarks , as he carries out a traditional narration , without zooms , neither lousy pace . Jesus uses to sign under pseudonym , among the aliases he used, apart from the names Jess Franco or Franco Manera, were Jess Frank, Robert Zimmerman, Frank Hollman, Clifford Brown, David Khune , Toni Falt, James P. Johnson, Charlie Christian, David Tough , among others . Franco used to utilize usual marks such as zooms , nudism , foreground on objects , filmmaking in ¨do-it-yourself effort¨ style or DIY and managing to work extraordinarily quickly . In many of the more than 180 films he's directed he has also worked as composer, writer, cinematographer and editor. His first was "We Are 18 Years Old" and the second picture was ¨Gritos en la Noche¨ (1962) , the best of all them , also titled "The Awful Dr. Orlof" , it's followed by various sequels such as El Secreto del Dr. Orloff (1964) aka "The Mistresses of Dr. Jekyll" , " Orloff y el hombre invisible (1970) aka "Dr. Orloff's Invisible Monster" and finally "Faceless" (1987) . He also directed to the great Christopher Lee in 4 films : "The Bloody Judge" , ¨Count Dracula¨, ¨The Blood of Fu Manchu¨ and ¨The castle of Fu Manchu¨ . Jesús's influence has been notable all over Europe . From his huge body of work we can deduce that Jesús Franco is one of the most restless directors of Spanish cinema and often releasing several titles at the same time. Many of his films have had problems in getting released, and others have been made directly for video. More than once his staunchest supporters have found his "new" films to contain much footage from one or more of his older films . Jesús Franco is a survivor in a time when most of his colleagues tried to please the government administration. He broke up with all that and got the independence he was seeking. He always went upstream in an ephemeral industry that fed opportunists and curbed the activity of many professionals . But time doesn't pass in vain, and Jesus' production has diminished since the 90s ; however he went on shooting until his recent death .

A true deity to some…not much more than a lame plagiarist to others. One statement everyone must agree with is that Jess Franco is one of the most creative and busiest men in the film industry. With a repertoire of over 180 movies as a director, writer, composer and often also editor, Jess Franco always was an important pivot figure for the European cult cinema. Especially his earliest films are sublime independent motion pictures, since he afterwards merely followed popular trends (like the slasher films with 'Bloody Moon') or started making moneymaking sleaze films (nunsploitation, babes-in-prison flicks…). The Sadistic Baron Von Klaus belongs among his finest achievements – according to me at least – and only was his second effort in the horror field, immediately after the terrific 'Awful Dr. Orloff'. The film is set in a quiet little German town, still haunted by ghosts from the past. There once lived a maniacal Baron who committed several despicable felonies like murder, rape etc… When a young girl is found murdered and another one goes missing, the police immediately suspect the Baron's descendant Max von Klaus. But…is he really the murderer, because all the women disappear from the nearby hotel-brother visited by adulterous men.

Talking about style, this film has quite a lot in common with The Awful Dr. Orloff. It's a slowly developing and atmospheric murder mystery. Even though there aren't that many suspects for the murders, Franco manages to keep up the suspense by giving away only a few clues. There's very few action (apart from a cool manhunt through the eerie old streets) but the dialogues are great and the black-and-white cinematography makes the entire film look ominous and paralyzing. Howard Vernon, star in many wicked Franco films, shines as the creepy looking Von Klaus. This early, story-driven Franco terror is recommended in case you're a Eurocult-hunter. Avoid if you're only into loud, computerized splatter.

My last-viewed Jess Franco movie had been the supremely silly CELESTINE, AN ALL-ROUND MAID (1974); I was therefore relieved to catch something from his initial black-and-white phase, not that the end result proved exactly satisfying (especially since, at 95 minutes, it tends to drag somewhat). Incidentally, since I missed out on celebrating the notorious Spanish director's 80th birthday last year, I was ready to make amends now with as many as 15 Franco titles scheduled for this month (10 of them will even be first-time viewings) and 5 more that are in a way related or somewhat similar in theme and approach!

This pretty much evokes the same mood as the superior THE DIABOLICAL DOCTOR Z (1965): in fact, I think his style kept improving or, if you like, gradually became more polished and reached its zenith in that film before he turned his attention to color and, with the new-found permissiveness, his erotic concern also came to the fore (which, in my book, was not a good thing but that argument is better left for another day and another film). By the way, even if these early efforts were officially Spanish productions, they are easier to come by in their slightly-altered (emphasizing the nudity quotient, sometimes gratuitously so, which on its home ground would have been repressed by the State Censorship Board!) French versions via the Eurocine company; thankfully, this copy retains the French dialogue which is (by far) superior to the English dubs…though the original Spanish title, which translates to THE HAND OF A DEAD MAN, is decidedly classier than the one it got stuck with here!

The narrative is quite typical and, in fact, his later Dracula'S DAUGHTER (1972; no relation to the 1936 Universal horror classic) makes for a direct remake of it: if anything, Franco frequently ingeniously (or is that ingenuously) revamped a plot that he felt a particular affinity with or, perhaps to put it more crudely, a formula that seemed to work – personally, I find his most interesting double-feature in this vein to be the blood-sucking combo of COUNT Dracula (1969; which I will be revisiting presently since I have only caught it thus far in the slightly extended but unsubtitled Spanish-language version) and VAMPYROS LESBOS (1970). Anyway, this is not bad but it does not reach any great heights either: we have a series of murders which seem to be tied to one particular family and, apparently, are a reprise of a killing spree perpetrated by an ancestor. The obvious suspect is the new head of the family (played by the sinister-looking and Franco regular Howard Vernon) but, as it turns out, it is someone else who had so far been depicted as reasonably sympathetic and virtuous – that said, there are clues to his true nature when he barely bats an eyelid over the death of his mother…unless this was a combination of bad direction and listless acting (with Franco, you are never really sure)! In the end, he voluntarily joins his progenitor into the swamps (again, foreshadowing a subsequent picture by the director, namely A VIRGIN AMONG THE LIVING DEAD {1971}).

The film contains elements which would soon become trademarks such as the dysfunctional family unit, the cabaret act and the Police procedural, yet Franco is most inspired when he tries to emulate his idol Orson Welles – particularly a night-time chase through the streets marked by tilted camera angles! As I said, on the other hand, the would-be titillating inserts do not really add anything to the proceedings or the film's overall assessment: indeed, these so-called "Continental Versions" were never more than sensation-seeking exploitation ploys and, at this juncture, come across as mere curiosities!