Watch The Sadistic Baron Von Klaus For Free

the audience applauded

How sad is this?

Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

There seems to be a world of difference between the dozen or so films that Spanish "bad boy" director Jess Franco made from 1960-'67 and the almost 180 (!) he has made since. Those early films--including such titles as "The Awful Dr. Orloff," "The Sadistic Baron von Klaus," "Dr. Orloff's Monster" and (especially) "The Diabolical Dr. Z"--feature truly gorgeous B&W photography, Gothic compositions, interesting and understandable story lines, high production values and a NONreliance on the ol' zoom lens. His latter works, a slapdash mixed bag at best, to my experience, are a whole different game. "Von Klaus," one of Franco's releases from 1962, shows him at a point where his creative powers were burning very strongly. In the film, a series of sex murders has begun to once again afflict the village of Holfen, as has been the case for the last 500 years. Centuries ago, Baron von Klaus had been discovered to be the maniac killer, and his spirit is said to sporadically inhabit the bodies of his descendants. So is the modern-day baron (played by Howard Vernon; Dr. Orloff himself) responsible, or possibly his nephew, a young pianist named Ludwig (Hugo Blanco, the titular star of 1964's "Dr. Orloff's Monster"), or is it perhaps someone else? That's what no-nonsense police inspector Borowsky (Georges Rollin) and a reporter from "Maidens and Murderers" magazine (Fernando Delgado) endeavor to find out, in Franco's very entertaining and impressive film. The picture boasts a handful of memorable and bravura sequences: Ludwig's fiancée's nighttime awakening to an ominously ticking clock; the midnight attack on bar owner Lida in her bedroom, and the subsequent chase, down cobblestoned streets, after the killer; the matter-of-fact revelation of the psycho's identity; and the startling rape and torture scene that comes near the film's end. This scene, replete with nudity, bondage, whipping and red-hot pokers, and accompanied by some bizarre musique concrete courtesy of Daniel White, must have been truly shocking back in '62, especially considering the fact that the film's previous murders are quite tame and bloodless by comparison. In all, a well-done if at times plodding horror outing, put way over the top by Franco's imaginative direction and exceptionally fine B&W cinematography. Francophiles who are only familiar with the director's later, cheezier efforts will certainly be stunned.

Decent early offering from Jess Franco. This is easily the smoothest, least flawed Franco film I've seen, yet it's also the least interesting. The production and photography are of a higher quality than his later works, yet the story feels less ambitious and more generic. Though somewhat disappointing, the overall aesthetic is certainly less frustrating than latter day Franco, and has some intriguing similarities to some later Italian horrors. I'd bet that Bloody Pit of Horror and Baron Blood were both more than a little inspired by this film, though each take their similar premise in radically different directions.Though the characters often refer to supernatural phenomena, Franco eschews much of that Gothic imagery for some suspense and murder sequences straight out of a giallo (viewers wanting to see something of that ilk should check out Bava's Baron Blood). The murder mystery is fairly engaging and managed to keep me off the scent with a fair share of red herrings, but I can't say it was up there with the best of them.The ending, though, was curiously reminiscent of the later A Virgin Among the Living Dead, both visually and thematically. It occurred to me as I watched that all of the three Franco films I've watched recently (this, A Virgin Among the Living Dead, and Female Vampire) share some strong thematic connections, strengthening the reading of Franco as an auteur. Most significant is the cursed family and tragic killer. I plan to watch more Franco films now to see if any more connections occur to me. I have seen The Bloody Judge but barely remember a thing about it. In the meantime, my final word on this film is that it's decent but lacks the artistic ambition of a later work like A Virgin Among the Living Dead that would warrant repeat viewing.

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.

Here's another early Franco, rescued for DVD, that proves that he was once a director to be reckoned with. Creepy B&W atmosphere, with individualistic characters spouting often witty dialogue (not unlike the Edgar Wallace krimis). Highly reminiscent of his earlier Orloff film (in fact, some of the scene settings and lighting techniques look identical), this one pushes the sadism further with a knockout torture scene of a sexy barmaid that must have really pushed the limits in the early 60's. The jazzy score and the usual cabaret scenes help keep the film light despite the preponderance of dialogue scenes.