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SAlexLindsay |
Goofs in Franco's films |
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First of all a statement of purpose- this is not intended as a criticism of Franco's work, it's just for fun. I'm sure even Shakespeare made the odd @#%$ up. It can also be argued that Franco's films are not concerned with expressing perfection, but capturing reality and spontanaity, in the spirit of Dogma 95. Anyway, next time you sit down to one of the following titles have a look out for these... Female Vampie- 1.We'll start with the famous one, but just in case you didn't notice, when Lina Romay makes her iconic entrance at the beginning, her face bangs right into the camera.2. Also, 53 minutes into the film, when Jack Taylor strolls across the Bay of Funchal, a gang of little boys strolls into the shot and they stare at the camera. This annoys me every time, could Franco not have told the brats to @#%$ off?! Barbed Wire Dolls, 1.When Lina Romay has her first session of 'shock therapy' 9 minutes into the film, the camera pans slightly too far to the right revealing that the room is not a concrete cell, but a wooden set within a larger studio.2. When the Regional Governor calls in Eric Falk to rape the visiting prisoner, a crew member can be seen sitting on the bed(12:45) 3.Throughout the film, when the in-mates lean against the cell-walls they bend, revealing that they are not concrete, but painted canvas. 4.When the three fugitives settle down in the forest to sleep, at the beginning of the shot, a gormless crew- member stares at the camera before hiding behind a bush. Love Letters of a Portugease Nun- 1. During the opening credits, Maria and Father Vincente walk past the same wooden gate not once, not twice but three times! 2. After Maria tells her ex-boyfriend to 'leave if you love me,' she looks out the window to the sea- on the horizon sits an anachronistic oil- tanker.(33:25) Voodoo Passion- 1. When Susan and her husband stroll through the park 13 minutes into the film, the people sitting on the bench in the background, obvisiously not extras, stare at the camera. 2. When Susan and Jack Taylor make love for the first time. a mysterious hand drops into shot from the top left.(13:55) When Olga and Susan are in the bath together, the camera and crew can clearly be seen in the mirrors. (52:30) Rolls Royce Baby- Not a Franco film, but you all know it. Five shots into the film, a crew member tries and fails to hide behind a tree as the car drives by. Exactly the same shot is used later in the film. Hope you enjoy looking out for these bloopers, why not share some of your own?!
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Tim Lucas VW |
Re: Goofs in Franco's films | ||
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There is a moment in SUICIDE GAMES IN CASABLANCA where a passerby strolls into shot, notices the filming of a conversation scene, and stands there staring. Franco actually had the cojones to zoom into the face of the idiot -- and leave the shot in the picture!
This shot and most of the others you mention are interesting because they remind the viewer that the story unfolding is not real, and not meant to be perceived that way, but a story being told by a filmmaker and his actors. This may speak to a Pirandellian tradition, or a Brechtian tradition, but in Franco's case, I think it has more to do with him wanting to capture an essence of reality as well as fantasy in his films. These moments occur too often in his films, and share the same essential character, to be wholly accidental or careless. |
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SAlexLindsay |
Bloody Judge | ||
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Just remembered another funny one in Bloody Judge. Look in the middle of the shot of the charging horses at 1:36:50 of the Blue Underground disc and you'll see a clumsy crew member in a red top try to crouch out of shot and behind a tree. In the same shot, you can also see a crash mat to the left, probebly left over from a battle scene.
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Doktor Zimmer |
Re: Bloody Judge | ||
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"Mondo Cannibale" aka "Die blonde Gttin der Kannibalen":
At Cannibal-Village. Sabrina Siani appears naked. On the right sight of the screen a cannibal knocks against his neighbour and smiles. He is obviously happy to see this pretty girl. Final Fight in the Water. Al Cliver loses his jacket. In the next scene the jacket is back on Cliver's amputatet arm. "Sexo Canibal" aka "Jungfrau unter Kannibalen": Gisela Hahn at the promenade. People stare into the camera. When she arrived at the telephonbox you can see the camera reflecting in the box. Al Cilver climbs to the top of the mountain where the black Cannibal-Zombie is waiting. You can see that the camera is kept diagonal, because Clivers hair hang wrongly and a small tree grows downward to rock. Also you can see Werner Pochats decapitated head twice times and the helicopter-crash isn't really a helicopter crash. And there are so many movies where the night turns into day and back: "Vampyros Lesbos", "The devil came from Akasava", "Jack the Ripper" and of course "El Muerto Hace Las Maletas": Here the night is produces with a cloth, which was hung over the camera. I hope, this is understandably written... |
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frankie marino |
Re: Bloody Judge | ||
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the only one that really bothered me was the camera operators shadow on the wall of Kinski's padded cell in Count Dracula. a great, effective shot, ruined
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Tim Lucas VW |
Re: Bloody Judge | ||
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If you look at the padded cell scene properly matted, you cannot see the camera shadows.
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Francesco Cesari |
Re: Goofs in Franco's films | ||
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In an interview Franco talks about the camera shadow in COUNT DRACULA. He admits his fault but say that one shouldn't care too much for a camera shadow when can look at an actor like Klaus Kinski!
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Doktor Zimmer |
Re: Goofs in Franco's films | ||
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More movies with camera-shadows:
"She killed in ecstasy" "La venganza del doctor Mabuse" |
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ALT |
camera-shadows | ||
Tim Lucas VW |
Re: camera-shadows | ||
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The whole notion of camera shadows becomes moot if one considers that at least one movie's scene of a couple making love in a bathroom reveals a surprising reflection in the bathroom mirror -- Jess operating the camera!
Sorry, I don't remember which movie this was. |
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bobmonel |
Re: camera-shadows | ||
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The movie Tim mentions is EL SEXO ESTA LOCO (1980) and Franco is actually a character in the film, appearing as the "director" who comes on to give lines and does indeed appear in that bathroom scene as he is zooming in on his own image in the mirror, making very clear (or very out of focus) that this is cinema, that he is there photographing this porno-comedy-sci-fi parody. Franco loves to be self reflexive and remind us constantly that we are watching a film, and in this case, the "goof" is part of the plan, a film within the film. I believe that Franco wants us to live with a certain degree of uncertainty when watching his films and for that reason sometimes stages accidents, sometimes leaves them in the edit. He can make technically near perfect films and I can name a number of them, he could also have gone on to make larger budgeted films but he chose to do something else instead.
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SAlexLindsay |
Goofs=great film | ||
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Oh I agree totally. I think imperfections give a film character and a sense of reality, and don't spoil the overall artistry at all. All my favorite films are fraught with 'goofs'!
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Tom Mather |
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When exactly is Revenge in the House of Usher set? It is rather disconcerting after 68 minutes to see an electric light bulb over Howard Vernon's bed. At
least it isn't turned on. However doing some research on Wikipedia, early light bulbs were being developed in the mid 19th century so an eminent scientist
like Usher/Orloff could have installed one himself, at least for his own room. Perhaps more problematic is a discussion of Psychoanalysis by Antonio Mayans and
Daniel White which wasn't developed by Freud until the 1890s.
Having just watched it for the 2nd time, I have to say it remains one of my favourite Franco films, but this is of course the French version. Has anyone seen the original Spanish film where presumably all the Orloff references are missing. One final question, where is Analia Ivars in this film? I couldn't spot her. |
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Cushing |
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Female Vampire- Lina's first prey in the hotel room doesn't seem too much into the action as when Lina mounts him his "goods" flop down
giving me the impression he really isn't into the scene.
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rojoprofundo |
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Les Demons. When Ann libert is taken to prison. She and her captors go through the wood and you can see a car in the right side of the screen.
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Lars Jacobsson |
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DRACULA, PRISONER OF FRANKENSTEIN: In this 'period' film electrical sockets are clearly visuable throughout. In one scene a car - badly covered in
sheets- can be spotted.
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Howling Beast |
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Lars Jacobsson wrote:
Actually, I'm not sure what period the film is supposed to take place in, because Dennis Price and Luis Barboo pull up to Dracula's castle in a car, even though horses are being used by everyone else. Also, both Price and Alberto Dalbes use flashlights. I kind of like it, as it adds to the film's weirdness. Brant
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SAlexLindsay |
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Yeah, it gives the setting a kind of dreamy/dystopian/neverland feel. It's not meant to be real life.
'I don't think I make good films, just some that are more disgusting than others.' Jess Franco
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