Por qué Mr. Anderson, ¿Por qué lo hace? ¿por qué se levanta? ¿Por qué sigue luchando? ¿De verdad cree que lucha por algo además de por su propia supervivencia? ¿Querría decirme qué es, si es que acaso lo sabe? ¿Es por la libertad? ¿Por la verdad? ¿Tal vez por la paz? ¿Quizás por el amor? Ilusiones Mr. Anderson, desvaríos de la percepción, concepciones temporales de un frágil intelecto humano que trata con desesperación el justificar una existencia sin sentido ni objetivo.
Figurita dificil si las hay, las películas de Max Pecas. Dirigió 30 películas. Irónico, autocrítico, enigmático y erotómano, Max Pécas es un hombre que ha vivido por el cine y para el cine. Reconocido en Francia como uno de los renovadores de la comedia adolescente desvergonzada, fuera de su país se hizo popular por sus films más abiertamente eróticos, a la cabeza de los cuales se encuentra Yo Soy Ninfómana.
Filmografía:
Première période : Le Polar
Le Cercle vicieux (1960) - La belle et le champion (1962) Daniella by Night / De quoi tu te mêles Daniela ? (1961) con Elke Sommer Sweet Ecstasy / Sweet Violence / Douce violence (1962) con Elke Sommer The Slave / Une femme aux abois (1962) - The Erotic Touch of Hot Skin / La baie du désir (1964) Heat of Midnight / Espions à l'affût (1966) - Five Wild Kids/Girls / Cinq filles en furie (1966) Love + Fear = Torment / La peur et l'amour (1966/67) - La violence et l'amour (1968) The Night of the Three Lovers - La nuit la plus chaude (1968) La main noire (1968) con Janine Reynaud - Claudia y Greta, ligues particulares / Her and She and Him / Claude et Greta (1970)
Deuxième période : Le Porno Yo soy ninfómana / The Sensuous Teenager / Libido: The Urge to Love / Je suis une nymphomane (1971) Yo soy frígida... ¿por qué? / Let Me Love You / Je suis frigide... pourquoi? (1972) - Club privado / House of 1000 Pleasures / Club privé pour couples avertis (1974) Sexualmente vuestro / Young Casanova / Sexuellement vôtre (1974) - Rêves pornos (1975) Las Mil y una perversiones de Felicia / 1001 Perversions of Felicia / Felicia / Les mille et une perversions de Felicia (1975) con Rebecca Brooke Pornolujuria / Sweet Taste of Honey / Luxure (1976) con Karine Gambier
Troisième période : Le Comique "Max Pécas es al cine cómico lo que Ed Wood es al cine de ciencia-ficción..." Tim Burton. Marche pas sur mes lacets (1977) - Embraye bidasse... ça fume (1978) Hot Dogs auf Ibiza / On est venu là pour s'éclater (1979) con Ursula Buchfellner - Mieux vaut être riche et bien portant que fauché et mal foutu (1980) Bellas, rubias y bronceadas / Belles, blondes et bronzées (1981) - On n'est pas sorti de l'auberge (1982) Les Branchés à Saint-Tropez (1983) - Brigade of Death / Brigade des mœurs (1985)
Brigade of Death / Brigade des mœurs (1985) Tagline: 'Dirty Harry' vs. The porn industry
Deux enfoirés à Saint-Tropez (1986) - On se calme et on boit frais à Saint-Tropez (1987)
Marco Ferreri nació un 11 de Mayo y murió un 9 de Mayo. Aquí está un pequeño homenaje a su trabajo como director de cine.
Marco Ferreri (11 de mayo de 1928 en Milán - 9 de mayo de 1997 en París) fue un director de cine, actor y guionista italiano. Su película más conocida es La gran comilona, aunque la mayoría lo conocemos por otras películas como LA CARNE (1991) o en el caso de los veteranos del foro por sus primeras películas en la década del '60.
Biografía
Marco Ferreri entró en el mundo del cine a través de la realización de cortometrajes publicitarios. Más tarde, se dedicó a la producción y llegó a España como representante comercial de los objetivos Totalscope, la versión italiana de los Cinemascope americanos. Aquí conoció a Rafael Azcona, con el que colaboró en El pisito en 1959 y El cochecito en 1960, dos comedias españolas marcadas por un feroz sarcasmo antiburgués. De vuelta a Italia, Ferreri siguió rodando con su L’ape regina en 1962, una sátira anticatólica que fue censurada, incluso su título modificado debido a la crítica que hacía sobre la institución del matrimonio.
En Se acabó el negocio (La donna scimmia), de 1963/64, habla sobre las relaciones entre los sexos dominadas por la explotación del más débil, con el final también censurado, esta vez por decisión del productor Carlo Ponti.
Hasta tres finales tiene esta película. La edición de Cecchi Gori presenta el más completo y el concebido originalmente por Azcona y Ferreri. En Italia y España se censuraron en su día las últimas escenas para intentar dar un final más moralizante a la fábula. En Francia se estrenó con un final alternativo que supongo que rodaría el propio Ferreri.
La edición francesa de LJC Editions. Doblaje francés. Sin subtítulos. No anamórfica. 89 min. El último cuarto de hora no tiene nada que ver con ninguna de las dos versiones italianas, la completa y la censurada. Ferreri rodó este nuevo final que traiciona sustantivamente el espíritu de la película.
Más adelante, realizó el capítulo de Il professore dentro de la película colectiva Controsesso en 1964, y luego el cuento antimachista El harén (L’harem) de 1967. Sin embargo, la que se cosidera su obra maestra es Dillinger ha muerto (Dillinger è morto), de 1969, un ensayo sobre la soledad del hombre contemporáneo en la sociedad capitalista.
Luego rodó la triste alegoría sobre el futuro El semen del hombre (Il seme dell’uomo) en 1970, un cuento kafkiano anticlerical, y La audiencia (L’udienza) en 1971. Más tarde, realizó una curiosa por no decir surrealista relectura de la derrota del general Custer en Little Big Horn llamada No tocar a la mujer blanca (Non toccare la donna bianca) en 1975.
Pero cuando alcanza de nuevo la cumbre es gracias a la adaptación del cuento de François Rabelais La gran comilona (La grande abbuffata), de 1973, que anticipó la furia iconoclasta del Saló o los 120 días de Sodoma de Pier Paolo Pasolini.
Desde entonces podríamos citar las siguientes obras: La última mujer (L’ultima donna), de 1976, y La casa del sorriso, de 1988. Homenajeando el cine que ya no existe en Nitrato d’argento (1995), concluyó con una nota de melancolía su recorrido como cineasta, a la vez genial e inclasificable.
Filmografía como director:
* El pisito / The Little Apartment (1958/1959) http://www.alohacriticon.com/elcriticon ... e1009.html
* Los chicos (1959) / * El cochecito / The Little Coach (1960)
* Le italiane e l'amore (1961) (el capítulo "L'infedeltà coniugale")
* La abeja y su zángano / Una storia moderna: L’ape regina (1963) con Ugo Tognazzi y Marina Vlady
* Se acabó el negocio / The Ape Woman (La donna scimmia) (1963/1964) con Ugo Tognazzi y Annie Girardot
* Controsesso / Amor en alta tensión (1964) (el capítulo "Il professore") con Ugo Tognazzi
* Marcha nupcial / The Wedding March / Marcia nuziale (1965) con Ugo Tognazzi y Alexandra Stewart
* Corrida! (1966) (documental co-dirigido con Luigi Malerba)
* El harén (L'harem) (1967) con Carroll Baker
* Hoy, mañana, pasado mañana / Oggi, domani, dopodomani (1965/1968) (el capítulo "L'uomo dei cinque palloni") con Marcello Mastroianni, Ugo Tognazzi y Catherine Spaak
* El semen del hombre (Il seme dell'uomo) (1969/1970) con Annie Girardot
* Dillinger ha muerto (Dillinger è morto) (1969) con Michel Piccoli, Anita Pallenberg y Annie Girardot
* La audiencia (L'udienza) (1971/1972) con Ugo Tognazzi, Michel Piccoli, Vittorio Gassman y Claudia Cardinale
* Liza / La Cagna (1972) con Marcello Mastroianni, Michel Piccoli y Catherine Deneuve
* La gran comilona / La grande bouffe (La grande abbuffata) (1973) con Marcello Mastroianni, Michel Piccoli, Philippe Noiret, Ugo Tognazzi y "las chicas"
* No tocar a la mujer blanca / Don't Touch the White Woman! (Non toccare la donna bianca) (1974) con Marcello Mastroianni, Michel Piccoli, Philippe Noiret, Ugo Tognazzi y Catherine Deneuve
* La última mujer / La dernière femme (L'ultima donna) (1976) con Gérard Depardieu, Michele Picoli y Ornella Muti
* Adiós al macho / Adiós, mono / Bye Bye Monkey / Ciao maschio (1978) con Marcello Mastroianni, Gerard Depardieu, Geraldine Fitzgerald y Stefania Casini
* Chiedo asilo / Seeking Asylum (1979) con Roberto Benigni
* Tales of Ordinary Madness / Storie di ordinaria follia (1981) con Ben Gazzara, Ornella Muti y Susan Tyrrell
* Historia de Piera / Storia di Piera (1983) con Marcello Mastroianni e Isabelle Huppert
* El futuro es mujer / Il futuro è donna (1984) con Ornella Muti
* I Love You (1986) con Christopher Lambert
* La casa de la sonrisa / La casa del sorriso (1988/1992) con Ingrid Thulin
* Los negros también comen / Ya bon les blancs / Come sono buoni i bianchi (1988) con Michele Placido y Maruschka Detmers
* La carne (1991) con Francesca Dellera
* Diario de un vicio / Diary of a Mania / Diario di un vizio (1993) con Sabrina Ferilli
* Nitrato d'argento (1997) (documental sobre el 100mo. aniversario del cine)
Comentarios del guionista Rafael Azcona sobre algunas de sus películas:
El pisito / La crisis de la vivienda «Nunca he escrito nada autobiográfico. Me inspiré en un suceso: un joven de Barcelona se había casado con una octogenaria con el único fin de heredar su casa. En España, entonces, la gente recurría a esa clase de cosas para resolver la crisis de la vivienda».
El cochecito / Una mirada a la calle «Esos personajes de El pisito y de El cochecito»,comenta el guionista, «son característicos de la posguerra. No tuvimos que inventarlos, bastaba con mirar en la calle. Lo único que tuvimos que hacer fue exagerar un poco, acentuar la deformación».
La gran comilona / Las náuseas de Ingrid Bergman «En La gran comilona, Marco nunca tuvo la intención de provocar. Si Ingrid Bergman (que era la presidenta del jurado el año en que fue presentada en Cannes) se puso enferma, era problema suyo. Ya sabe que tuvo náuseas y vomitó».
No tocar a la mujer blanca / Paseos nocturnos por Les Halles «Cuando escribíamos el guión paseábamos de noche por la excavación de Les Halles. El mejor momento del filme era cuando Catherine Deneuve, que hacía de enfermera de la Cruz Roja, llevaba en brazos a Mastroianni como una pluma».
La última mujer / Un hombre se corta el pene «Me llamó un día a Madrid y me dijo que tenía una idea». «¿Cuál?'», le pregunté. «Un hombre se corta el pene», me contestó. «Formidable. Voy para allí», le dije. Todavía me pregunto si la castración estaba verdaderamente en juego en aquella historia».
Adiós al macho / La génesis de un nuevo hombre «Esta película parte de una imagen, la de King Kong abandonado. En aquella época, la versión de King Kong con Jessica Lange estaba en la onda y la idea de Marco era que ese monstruo cinematográfico generara un nuevo hombre».
Ah, blancos ser buenos / En busca de lo amargo «Marco ya no quería hacer cine divertido. Buscaba lo amargo y lo trágico. Cuando construimos el argumento, en tono de comedia, todo fue como de costumbre, entre risas, pero a la hora del rodaje, lo olvidó todo e impuso el talante de su último estilo».
Necrológica de La Nación: (extracto)
Provocador y cretino son dos adjetivos que el notable Marco Ferreri, recibía con afecto. Apreciaba el escándalo, al que respondía con el silencio; gozaba con el escarnio a que lo sometían sus detractores y sonreía feliz cuando, en los festivales, era reconocido por una cualidad poco común para satirizar impiadosamente a la sociedad.
El sexo, la religión y las buenas costumbres fueron sus blancos preferidos. "El cochecito" marca el capricho de un vejestorio por conseguirse un sillón motorizado de paralítico, sin tener impedimentos físicos. "La abeja y su zángano" (1963), una de sus celebradas realizaciones, con Marina Vlady, es la crónica del deseo desesperado de una esposa que se casó virgen y no cabe en sí con el descubrimiento. "Dillinger ha muerto" (1969), probablemente su obra maestra, se destaca por la ironía y la ambigüedad deliberada en un cruel y a la vez irónico retrato de la sociedad: es la historia del industrial poderoso y brillante que un día cambia la pluma por una pistola.
Siempre dentro de la temática provocativa, alegó por la libertad amorosa de la mujer ("El harén"); no mostró indignación ante formas de castración ("La última mujer"), ni se indignó con el suicido del buen ciudadano ("Melampo"). En "La carne" celebra el erotismo antropofágico; en "En nombre de la infancia" (o "Pido asilo") pega un grito de autor desde la regresión; en "Historia de Piera" confronta la imagen de la mujer desde dos voces femeninas, y en "Historia de la locura común", sobre texto de Bukowski, desata una mueca ya casi moralista. La muerte de Ferreri deja un hueco entre los artistas de la deseperación.
Fuente: http://www.lanacion.com.ar/68640-murio- ... utor-moral
Le Viol du Vampire (1967) - Regie: Jean Rollin
THE RAPE OF THE VAMPIRE, 2 Disc LIMITED ENCORE RELEASE (DVD)
Cast: Solange Pradel, Bernard Letrou, Catherine Deville
Beeld: 16:9 Anamorph Widescreen / Ondertitels: English, Dutch, German
Extra: 2 disc digipack with l'Histoire de la Nuit des Horloges, Original trailer, Picture Gallery, Interviews and Cencored scenes, 32 page booklet with essay on Le Viol du Vampire and lots of rare photo's Disc One:
• Audio Commentary by Jean Rollin Disc Two:
• The Story of Nuit des Horlanges (22:29)
• Trailer (4:23)
• Still Gallery
• Interview with Jacqueline Sieger (14:07)
• Interview with Alain-Yves Beaujour (20:04)
• Interview with François Tusques (13:30
• Censored Scenes (2:24)
• Trailers for Les Demoniaques (2:57);
• Shiver of the Vampires (3:59); Night of the Hunted (3:16)
• La Morte Vivante (1:24)
• Booklet on the film (28 pages)
DVD Review: http://www.dvdbeaver.com/film2/DVDRevie ... ampire.htm
Requiem of a Vampire (1973) - Regie: Jean Rollin
REQUIEM FOR A VAMPIRE, 3 Disc Limited Encore Release (DVD)
Cast: Marie-Pierre Castel, Mireille Dargent, Philippe Gasté, Dominique, Louise Dhour
Beeld: 16:9 Anamorph Widescreen
Ondertitels: English, Dutch, German, Italian, Spanish, Portuguese, Danish, Swedish, Finnish, Norwegian, Polish
Extra: 3 disc digipack with audio commentaries, Interviews, trailers, Rollin reads "Le Dernier Livre, 64 page booklet essay, the short story "Le Dernier Livre" and rare photo's from Rollins own collection DISC ONE
• Introduction by Jean Rollin (in English - 16:9; 7:18) DISC TWO
• Interview with Louise Dhour (in French with English subtitles - 16:9; 10:06)
• Interview with actor Paul Bisciglia (in French with English subtitles - 16:9; 16:24)
• Jean Rollin reads from his last book (4:3; 8:54)
• French Theatrical Trailer (4:3; 3:00)
• English Theatrical Trailer (4:3; 2:59) • DISC THREE
• Selected Scenes Commentary by Jean Rollin (in English - 8 scenes - 22:42)
• 3 Alternate Clothed Scenes (2:52)
• Photo Gallery
• 64 page booklet
DVD Review: http://www.dvdbeaver.com/film3/dvd_revi ... ampire.htm
Lèvres de Sang (1975) - Regie: Jean Rollin
LIPS OF BLOOD, Limited 3 Disc Encore Release (DVD)
Cast: Jean-Loup Philippe, Annie Belle, Nathalie Perrey, Martine Grimaud, Catherine Castel
Beeld: 16:9 Anamorph Widescreen
Ondertitels: English, Dutch, German, Italian, Spanish, Portuguese, Danish, Swedish, Finnish, Norwegian, Polish
Extra: 3 disc digipack with audio commentaries, Interviews, trailers, Cette plage qui me suit 25 min, slideshow,Les Amours Jaunes, 64 page booklet with essay and lots of rare photo's from Rollins own collection Disc One
• Introduction by Jean Rollin (in English - 10:00) Disc Two
• This Beach That Follows Me featurette (in French with English subtitles - 24:39)
• Interview with Jean-Loup Philippe (in French with English subtitles - 16:01)
• Interview with Nathalie Perrey (in French with English subtitles - 12:23)
• Interview with Serge Rollin (in French with English subtitles - 13:14)
• Interview with Cathy Tricot (in French with English subtitles - 14:47)
• Photo gallery Disc Three
• Selected Scenes Commentary with Jean Rollin (in English - 32:55)
• Les Amours Jaunes short film (in French with English subtitles - 10:10)
• French theatrical trailer (2:19; 16:9)
• Demoniaques Trailer (2:57; 16:9)
• Requiem for a Vampire French Trailer (3:00; 4:3)
• 64 page booklet
DVD Review: http://www.dvdbeaver.com/film2/DVDRevie ... _blood.htm
Les Demoniaques (1977) - Regie: Jean Rollin
THE DEMONIACS, 3 DISC LIMITED ENCORE RELEASE (DVD)
Cast: Joëlle Couer, John Rico, Willy Braque, Paul Bisciglia
Beeld: 16:9 Anamorph Widescreen
Ondertitels: English, Dutch, German, Italian, Spanish, Portuguese, Danish, Swedish, Finnish, Norwegian, Polish
Extra: 3 disc digipack with audio commentaries, Interviews, trailers, bonusfilm "les Pays loin", 64 page booklet with 2 essays, funny stories and rare photo's from Rollins own collection DISC TWO:
• Selected Scenes Commentary (in English; 48:59)
• Interview with Willy Braque (16:9; 12:19)
• Theatrical Trailer (16:9; 2:57) DISC THREE:
• Short Film LES PAYS LOINS (16:9; in French with optional English subtitles; 15:42)
• Audio Commentary on LES PAYS LOINS (in English)
• Deleted Scenes from Demoniaques (4 scenes; 16:9; 17:53)
• Slideshow
DVD Review: http://www.dvdbeaver.com/film2/DVDRevie ... iaques.htm
Le Frisson des Vampires (1978) - Regie: Jean Rollin
SHIVER OF THE VAMPIRES, 2 Disc Limited Encore Release (DVD)
Cast: Sandra Julien, Jean-Marie Durand, Jacques Robiolles,Michel Delahaye
Beeld: 16:9 Anamorph Widescreen
Ondertitels: English, Dutch, German, Italian, Spanish, Portuguese, Danish, Swedish, Finnish, Norwegian, Polish
Extra: 2 disc digipack with audio commentaries, Deleted scenes and more then 100 rare photo's, 32 page booklet with essay on Le Frisson des Vampires and lots of rare photo's DISC TWO:
• Audio Commentary by Jean Rollin (16:9; 1:28:16 - in French with English subtitles)
• Alternate Scene 1 (16:9; 4:41)
• Alternate Scene 2 (16:9; 3:35)
• Alternate Scene 3 (16:9; 3:45)
• French Trailer (16:9; 3:59)
• English Trailer (16:9; 4:21)
• Slideshow
• 32-page booklet with essay by Jean Rollin
DVD Review: http://www.dvdbeaver.com/film3/dvd_revi ... mpires.htm
La nuit des Traquées (1980) - Regie: Jean Rollin
NIGHT OF THE HUNTED, 2 DISC LIMITED ENCORE RELEASE (DVD)
Cast: Brigitte Lahaie, Vincent Gardère, Dominnique Journet
Beeld: 16:9 Anamorph Widescreen
Ondertitels: English, Dutch, German, Italian, Spanish, Portuguese, Danish, Swedish, Finnish, Norwegian, Polish
Extra: 2 disc digipack with audio commentaries, Interviews, trailers, slideshow,Alternative scenes Hard Version, 32 page booklet with essay on La Nuit des Traquées and lots of rare photo's EXTRAS REVIEW:
Unlike the first four DVD box sets in Encores Rollin series, this Collectors Edition of La Nuit des Traquées – as well as that of the simultaneously released Le Frisson des Vampires – consists of only two discs as opposed to three, thus leaving only one for extras; but this doesn’t necessarily mean there’s less to appreciate so yet again Encore has come through for the expectant cult devotees and compiled another very fine selection of supplementary material as elaborate and entertaining as ever – with a racy added attraction sure to please the hard-boiled, demanding exploitation crowds. More on that later.
The disc certainly kicks off in style with the still lovely, charismatic and exceptionally likeable star of La Nuit des Traquées, Brigitte Lahaie, making a more than welcome appearance in an on-screen interview conducted in October 2006 (in French with optional English subtitles) where she offers a lot of insight into her many collaborations with Jean Rollin. She met him for the very first time when she starred in one of his hardcore films (which I believe to be Vibrations sexuelles (1977), available from Xploited Cinema), and because he liked her captivating screen presence she was asked if she wanted to work as a real actress in some of his regular feature films, with the horror opus Les Raisins de la Mort being the first, - Lahaie doesn’t have such fond recollections about that particular production, though. Like always when working with Rollin she naturally had to undress at one point, which didn’t bother her at all, - otherwise she probably wouldn’t have made a career in the adult film business (making it all the more surprising for me to hear her describe herself as a naturally shy person). No, the fact of the matter was that that particular scene had to take place outdoors and at that time of the year when they were shooting it was freezing cold. But this was nothing compared to the general atmosphere on the set; since Lahaie was in fact a well known adult performer she wasn’t met with respect from her colleagues, who therefore treated her accordingly as kind of an outsider, which affected her deeply and understandably clouded her experience. In turn she explains how much more pleasant it was doing Fascination (which she obviously considers her personal favorite Rollin film), and besides going into detail about acting in and making La Nuit des Traquées, she also speaks with candor when sharing her thoughts on Rollins own unique directorial style. Refined, eloquent and with a disarming sense of humor, Brigitte Lahaie is so inspiring and engaging company that after approximately 17 minutes (the length of this feature) you just want her to keep going … well, at least I do. A real treat.
Next up is another interview (17.38 minutes – in English), this time with Lionell Wallmann, a former racecar driver (back in the 60s) and the executive producer on La Nuit des Traquées (who, by the way, also has a bit part as a deadly male nurse wearing a mask near the end of that film). He tells how he got involved in the moviemaking business in a somewhat untraditional manner; his first assignment was Requiem Pour un Vampire and he originally came on to that production in the capacity of producer (as suggested by a mutual friend of him and Jean Rollin), but since he had practically no money (which in this particular situation does present some sort of a paradox) he became a production manager instead, allowing him, much to his great delight, to engage in a wide variety of duties. Regrettably no information whatsoever about La Nuit des Traquées is revealed during this feature, however, Wallmann does relate some amusing anecdotes on some of the other films he did with Rollin, e.g. on the set of Les Démoniaques – which he actually did produce – he cooked for the crew on a regular basis. In terms of hard, informative facts about the process of shooting a film on a restricted budget within an extremely tight schedule (the working conditions on many of Rollins efforts) this interview doesn’t offer much insight, but Wallmanns pleasant and warm personality makes it worthwhile after all.
In La Nuit des Traquées Alain Plumey (who also goes under the name of Cyril Val) plays a male nurse who derives pleasure from taking advantage of the female patients in the clinic, - it’s a supporting role, but in the next interview (13.47 minutes – in French with English subtitles) he is the center of attention. Given the fact that he is one of the most well known French male porn stars from the 70s and 80s and that this feature actually takes place in his renowned Musée de l’Érotisme, I imagined him being the ‘dirty’ element of this extras disc, occasionally slipping in one or two risqué behind-the-scenes anecdotes about what presumably also went on after hours, - this isn’t so. Instead he tells a bit about his own background, e.g. how he made the transition from initially working as a stage writer and actor to entering the X-rated cinema, the technical limitations connected with the shooting of La Nuit des Traquées as well as how certain ideologies, enthusiasm and sometimes also madness were required in order to make it in (I assume) the adult film industry some thirty years ago, a time of rebellion and anarchy. And at the end we’re treated to Plumeys most prized possession in his extensive collection of erotic art.
Lahaie and director Jean Rollin have teamed up to make an audio commentary for a comprised version of La Nuit des Traquées containing selected scenes from the film, and this feature runs for 63.44 minutes (in French with English subtitles). During this time Lahaie, among other things, talks about her approach to the role, her good rapport with her colleagues on the set and how she believes acting next to some of her more experienced co-stars gained her own performance, while Rollin explains how the different roles were cast (another actress was originally considered for the role of Dominique Journet, but she broke her leg prior to principal shooting, and other parts were played by some of the additional crew), where the actors came from and what has since then happened to them. This commentary track is generally quite informative and interesting, however, towards the end of the film the silent passages become increasingly longer, - and I don’t know how the following technical flaw has come about, but around the 7.00 / 7.30 minute mark the audio unfortunately gets out of sync with the visuals (from what I can gather the comments are approximately 45-60 seconds ahead), making it somewhat difficult to follow whenever Lahaie and Rollin make some scene specific remarks. But if you’re just extra attentive this won’t prove an insurmountable obstacle.
Another audio commentary (conducted in English) is available on the extras disc, this time featuring Jean Rollin sans Lahaie (who in turn is substituted by a moderator), and while it only runs for 49.03 minutes it’s meatier and considerably more compact than the previous. Rollin covers a lot of ground in his account of the production of La Nuit des Traquées, going into detail on how he built the whole story around practically one single image or scene (the same approach he used for Requiem Pour un Vampire and Les Démoniaques) and how he managed to implement in the script some references to current events at the time while also discussing the look of the film as well as the remarkable and strange locations he used. As it should appear from the main review Rollin used many porn stars in different roles for this film, and he explains that the reason he got along with them so well was because they were kind, down-to-earth people who didn’t think to highly of themselves as opposed to numerous acknowledged, regular movie stars; as to the actual performances he’s particularly happy about Lahaie as well as the young Catherine Greiner, and his appraisal is emphasized during Rollins favorite scene where the latter is spoon-fed by Lahaie (a sequence that the sexually obsessed producer found excruciating and wanted to be cut). All of these stories – and many others – are delivered in Rollins usual enthusiastic fashion and this makes for a very rewarding listen … and dear Rollin, the film may not be all what you originally had in mind, but it doesn’t even come close to qualify as your worst.
An amazing image gallery set to music from the film presents an array of pictures from the movie, behind-the-scenes shots and rare production stills, some of which feature the extremely delectable and glamorous porn actress Marilyn Jess (who can be glimpsed in the main feature) while others are of scenes shot merely to please the anxious distributors and the one-track mind producer who demanded a lot of nudity and carnal action. The running time for this feature is 5.16 minutes.
And now on to the saucy stuff as promised at the beginning. For this release Encore has located two deleted and rather explicit scenes of ‘natural content’ (not hardcore, though) and added them here for our guilty viewing pleasure (both presented in 1.78:1 anamorphic widescreen); the first one is not so much a deleted scene but rather an extension of the copulation sequence in the sauna (-1-), - the second scene (-1-/-2-), however, is completely new to me and has never been seen in either the official theatrical release or any of the previous legitimate DVD releases. It takes place in the clinic and shows a male nurse (played by Cyril Val) who enters a room and forces himself upon a helpless female patient (stunning, curvaceous blonde Marilyn Jess). Both scenes are played in succession and are presented in two separate clips of varying quality, first in a slightly worn and dark looking but otherwise very watchable version (on the menu listed as ‘deleted xx scene a’) and then in a cleaned up and brighter version with a warmer color scheme (listed as ‘deleted xx scene b’) which brings more naughty details to light. The scenes have a combined running time of approximately 7.06 minutes – although the Marilyn Jess sequence in the ‘scene b’ version runs for a little longer at the end than in the ‘scene a’ version.
But there’s more. For the first time Encore has included an ‘Easter egg’ – and a raunchy one at that: Some hardcore sex scenes (-1-/-2-/-3-) - here edited into one clip - with eye-catching Catherine Greiner (the dark-haired girl who plays the role of Catherine) that were shot and meant to be used as inserts in a pornographic version of La Nuit des Traquées, resulting in an altogether new film (retitled Filles Traquées) naturally intended for the xxx cinemas (maybe I'm imagining things, but I actually think Miss Greiner looks prettier here than in the actual film). This penetrating, in-depth feature (sorry, couldn’t be helped) which runs for 9.25 minutes and is presented in 1.78:1 anamorphic widescreen can be found on the ‘deleted scenes’ menu page. So from here there’s really nothing more for me to say other than ‘let the juices flow’.
By now Encore standard issue, a lovingly created booklet is included which rounds out and hallmarks this intriguing Collectors Edition. It contains an essay that revolves around the making of La Nuit des Traquées, primarily focusing on Rollins collaboration and personal friendship with many of the people on the set, and although some of the subjects from the two commentary tracks are also touched upon here they’re far more elaborate and fleshed out, - and then there’s the new information (e.g. the anecdote on the bizarre, off-the-wall gym shoot involving an actress working out au naturel – this unused footage could undoubtedly have made a fun extras bonus feature) which is equally meticulous; especially when reading about the ambivalent relationship Rollin had with his editor one begins to realize how painful it often must be to be a director, having so many vivid ideas and then see nearly all of them strike out due to lack of dedication on the part of certain crew members. Invaluable reading, despite this booklet being ‘only’ 32 pages (half the size as those from the first four Encore releases), and as usual it’s richly illustrated with rare B/W and color pictures, many of which are exclusive to these pages and don’t appear in the extras discs image gallery.
La Morte Vivante (1982) - Regie: Jean Rollin
THE LIVING DEAD GIRL, Limited 3 Disc Encore Release (DVD)
Cast: Marina Pierro, Francoise Blanchard, Mike Marchall, Carina Barone
Beeld: 16:9 Anamorph Widescreen
Ondertitels: English, Dutch, German, Italian, Spanish, Portuguese, Danish, Swedish, Finnish, Norwegian, Polish
Extra: 3 disc digipack with audio commentaries, Interviews, trailers, Alternative scenes, slideshow, disc 3 is a soundtrack cd composed and conducted by Philippe D´Aram, 64 page booklet with essay on La Morte Vivante and lots of rare photo's from Rollins own collection Disc One
• Introduction by Françoise Blanchard (in French with English subtitles - 0:28)
• Theatrical Trailer (1:27) Disc Two
• Introduction by Jean Rollin (in English - 13:11)
• Selected Scenes Commentary by Françoise Blanchard ( in French with English subtitles - 26:55)
• Interview with Françoise Blanchard (in French with English subtitles - 22:00)
• Interview with Jean-Pierre Bouyxou (in French with English subtitles - 30:14)
• Interview with composer Philippe d'Aram (in French with English subtitles - 15:38)
• Alternate scenes (3:17 min) Disc Three
• Soundtrack CD (7 tracks - 15:45)
• 64 page booklet
DVD Review: http://www.dvdbeaver.com/film2/DVDRevie ... d_girl.htm
