director Jesús Franco
If you produce films by the hundreds, perhaps it’s not unusual that style and content may diverge from one film to another. Having only seen a fraction of Jesús Franco’s output, I’m a little loath to draw any broad sweeping conclusions, but based on The Awful Dr. Orlof (1962) and now The Sadistic Baron Von Klaus, it seems that his earlier films were made with greater production values, with more full studio production, and gorgeous black-and-white aesthetics.
By the late Sixties he was much more his own man, producing his own films and weaving his weird world of Eurotrash cinema. But these early 1960’s films would look good next to works by Georges Franju or Mario Bava. They are good-looking movies, bristling with a not yet fully unleashed perversity.
The Sadistic Baron Von Klaus is a sort of horror film and has been cited as a pre-giallo, which is most apt. As good-looking as it is, it’s also a bit slow-going, especially at first. Girls are being murdered in a countryside haunted by tales of a long-dead murderous Baron Von Klaus, and a reporter is dispatched and the police are on the scene, while things develop.
It’s not until the end when the torture scene cuts loose that Franco’s passion for perversity flashes to the fore. For 1962, this sexual sadomasochism seems rather pronounced. It’s vivid and surprising, especially given the rest of the film.
The ending, too, is beautifully-shot. It’s amazing what Franco could achieve with the right production staff. One might be tempted to suggest that these aesthetic qualities came more from the crew than from Franco himself since he abandoned lush aesthetics pretty quickly.
I need to read up more on him so I won’t be as speculative. These early films are visually pleasing, but it seems Franco preferred freedom to quality.