Watch Dr. Orloff's Monster For Free

I like the storyline of this show,it attract me so much

To me, this movie is perfection.

Excellent but underrated film

One of the worst ways to make a cult movie is to set out to make a cult movie.

DR. ORLOFF'S MONSTER (Jess Franco, 1964) Redemption Films Blu-ray On screen title: LES MAITRESSES DU DR. JEKYLL/1964/B&W/84m/1920X1080p (1.66.1)I noticed some details in this HD upgrade I hadn't noticed over the course of many viewings, in particular the rough textured, cracked, dry skin of Andros mentioned by Tim Lucas in the very informative commentary. The exotic-erotic dance performances in the special features folder are full strength Euro-trashy, more Eurocine than Jess Franco. It fails the Howard Hawks test of a good film--three good scenes, no bad scenes (there are a number of very bad scenes)-- but it's very much worth seeing as a progress report. The main problem I have with the film itself is the beefy Spanish actor who plays Dr. Fisherman/Jekyll, he's just a very bland performer and adds an unwelcome note of unintentional absurdity which breaks the somber mood. A horror film is as good as its villain and this has one of Franco's most uninteresting villains. The Blu-ray presents a rather rough looking, incomplete print, with noticeable scratches and marks throughout, but the enhanced detail, commentary, corrected framing and additional footage make it a worthwhile purchase. Print/transfer/video & audio: C+, Bonus material: C+; Film: B minus. The fact that it is missing an insert seen in some previous releases is the big minus and collectors may want to hold onto the IMAGE DVD release of this title which does contain that footage.*Directed by Jess Franco (Jess Franck) Produced by Marius Lesoeru (Eurocine, Paris; Spain) Cast: Agnes Spaak, Marcelo Arriota- Jauregui, Hugo Blanco, Pastor Serrador, Perla Cristal, Pepe Rubio, Magda Moldonado, Miguel Madrid France/Spain 1964 B&W 84 Min. 1920x1080p (1.66:1) A French soundtrack with optional English subtitles English language soundtrack Audio Commentary by Tim Lucas Eleven minutes of alternate, erotic footage. French, Italian theatrical trailersBelow: alternate scene included in the French version featuring a different actress as the first victim of Andros, who is also portrayed by a body double. This scene is not in EL SECRETO DEL DOCTOR ORLOFF, the Spanish version, where the fully clothed victim is strangled as she sits at a bar in a jazz club and it is not present in the English language export version, DR. ORLOFFS MONSTER, which was distributed as a television version and released on VHS by Something Weird Video. Obviously, this was inserted at the behest of French co-producer Eurocine and likely filmed by Jess Franco himself. An example of spicing up a film for a specific market. Image may contain: one or more people and indoor* It should be noted that there are at least four separate versions of this title, including the Spanish language EL SECRETO DEL DR. ORLOFF which contains footage exclusive to this edit, including an alternate opening credits sequence, with Spanish titles, under which Dr. Fisherman is shown entering and walking through the house of Dr. Orloff as he prepares for their meeting. This footage is not in any other released version. DOCTOR ORLOFF'S MONSTER, the US television cut, opens with a still shot of a footbridge outside of the Orloff mansion over which the credits role (Directed by "John Frank"). It also does not include two "nudie-roughie" style murder sequences added for the French release. The French version just presents the opening credits in French over a graphic background. There are two inserted scenes, shot later by Franco at the request of Eurocine, which feature alternate murder footage not seen in the Spanish or US versions. One of these additional sequences is not included on the Blu-ray, either as part of the film or in the eleven minutes of alternate, more sexually explicit, footage. Some versions, including the one broadcast in Australia by SBS and the IMAGE DVD, have another complete murder sequence where Jess Franco appears playing a piano just before Andros (an obvious double) conducts another home-invasion murder of a woman taking a bath. Why this isn't included on the Blu-ray is anyone's guess, but it may not have been provided by the right's holder. It may be a technical issue. This insert was obviously filmed by Franco since he appears in the scene, he also appears as a different nightclub piano player in another unrelated scene. This HD release is also more accurately framed at 1.66:1 than the IMAGE DVD, which appears to be window-boxed, losing image on all four sides. Reviewed by Robert Monell, 2017

Franco's cheap follow-up to THE AWFUL DR ORLOFF is a sequel in name only. A character named Dr Orloff does indeed appear, but only briefly at the beginning of the film, and from then on we spend time in the company of ANOTHER mad scientist, this time a guy named Fisherman. Even though he isn't a fisherman. It's that kind of film, and to make things even more confusing he seems to have been renamed Dr. Jekyll for some reason! This is fairly ludicrous, as he doesn't change into a monster or anything, instead he controls a "monster" in the same fashion as Dr. Orloff in the first film. Except that this time he's gone technological...Confused by this? Just try watching the film, which is one of the most disjointed and confused messes that I've ever seen, all thanks to the inimitable (thank god!) and tireless work of director Jess Franco. Here, Franco's taste for the zoom lens starts to show itself with endless zooooms into the mouth of a telephone, eyes, and anything else that comes to mind. This film unsuccessfully tries to replicate the original by throwing in many similar elements, like a controlled murderer, a string of nightclub singers being murdered, and plenty of stalking down long lonely streets at night. Sadly all of these things aren't as fresh or exciting this time around, and due to the poor direction (compared to this, the original looks like a masterpiece!) this movie is a pretty difficult one to watch.Plenty of it doesn't make sense, and the fact that it was made quickly and on the cheap is clear, with scant regard for reason or logic. "Jekyll" uses his dead brother to go on a killing spree and strangle a number of women - for what reason? (other than it makes for good exploitation, of course). He doesn't seem to get any satisfaction from it as he stays sitting in his car while this happens! The victims are all at the same nightclub, but otherwise they're unconnected. Perhaps he just enjoys the thought of pretty women getting murdered. You may think that he's doing this to get back at his adulteress wife, but as she is still alive and well at home, unharmed (but on the bottle), it seems to make little sense to the common viewer. Maybe something's lost in the dubbing, I don't know.The acting is pretty bad, varying between wooden and extremely wooden. Arriota-Jauregui is no Howard Vernon, and his bearded scientist comes across as a bit of a bore rather than a frightener. Meanwhile, Agnas Spaak - the film's young lead - fails to display any conviction in her actions or line-reading, and is also very boring. Thankfully there is a silver-tongued guy around called Juan Manuel who is very amusing in a distinctly Spanish way, and a weirdo inspector who spends more time eyeing up the legs of the witnesses than investigating the case! The biggest disappointment is with Hugo Blanco as the film's "monster", Andros. Whereas Orloff's assistant in the first film was pretty creepy, especially with his bulging eyes, Andros is just a normal-looking guy with dry skin. Or scaled skin. The black and white nature of the film makes it hard to distinguish. Thus, Blanco is forced to act using his eyes only, no easy task, and his performance is more often than not unintentionally amusing rather than frightening. Sadly this means that there is no real horror in the movie. The actresses playing the female victims of Andros are also all unusually muted, and don't even scream when attacked - instead, they submit meekly to their attacker as he proceeds to strangle them!The biggest problem with this movie, for me, is the pacing. For the first half, nay two-thirds, nothing much really happens to further the plot, and things got pretty boring at times. There's a lot of action towards the end which makes things more exciting, and cool scenes where people shoot at Andros only for the bullets to have no effect. You can guess what happens but it's interesting and watchable here nonetheless. One other thing I liked was the plot device of having the dead controlled by radio waves - not very realistic perhaps, but so ingenious that Franco later reused it for his film ATTACK OF THE ROBOTS. DR ORLOFF'S MONSTER is a disappointing Euro-horror which I would recommend only to die-hard fans who have some idea of what they're letting themselves in for. Everyone else, beware!

The second "Orloff" movie is apparently unrelated to the first (a re-acquaintance with which will follow): in fact, this name is omnipresent throughout Franco's filmography; anyway, it is more or less on the same level of THE SADISTIC BARON VON KLAUS (1962) – even if I watched ORLOFF in English rather than French (or, for that matter, the original Spanish language). Again, Franco shows to be fairly adept with genre conventions and even manages to blend them relatively easily with a modern-day setting – still, he cannot help being himself and resist incorporating nightclub performances (in fact, this rather lazily makes the artistes themselves the victims so that we get a song every 20 minutes or so!) and, inevitably, erotic overtones.Incidentally, Howard Vernon (the actor most associated with the Orloff role) is sorely missed here – the character himself is only of secondary importance and appears very briefly – but the memorable Morpho figure, a disfigured zombie-like creature obeying its master's will (not unlike Cesare from the German Expressionist landmark THE CABINET OF DR. CALIGARI {1920}), is now assumed by Andros. The latter – played by Hugo Blanco, the villainous latest member of the Von Klaus family and whose brooding good looks suit his mute stalker here – is perversely turned into a monster (hence the title, though the print actually bears the absurd moniker DR. JEKYLL'S MISTRESSES - which would, in any case, have better suited Walerian Borowczyk's masterful 1981 film, DOCTEUR JEKYLL ET LES FEMMES!) by his own scientist brother (Vernon's bearded, rather gruff replacement and saddled with the peculiar surname of Fisherman) when he catches him in bed with his own wife (she, of course, also pays for her infidelity by being driven to the bottle).However, the plot this time around is decidedly contrived: we never learn why Andros (who sleeps upright in a class cage, as Cesare himself did albeit in a wooden-box) is sent on a murderous rampage – after being revived, and subsequently controlled, by sound-waves – every once in a while (most effectively when he nonchalantly moves through a crowded nightspot following yet another attack). The "Digitally Obsessed" website review suggests the reason for the various killings is because Fisherman wanted to get even with his spouse…but this is hardly EYES WIDE SHUT (1999), is it?! Similarly, the heroine – the monster's daughter, whom she believed was dead and buried (at one point, he even visits his own grave!) – turns up to stay with the central family only so that we get the obligatory damsel-in-distress and add an admittedly refreshing touch of pathos to Andros' condition; Agnes Spaak, sister of the more famous Catherine(!), appears in this part. On the other hand, the girl's bland male counterpart is extremely annoying, and the presence of the Police basically only serves to keep the audience abreast of the villains' eventual apprehension.

Although made on a shoestring budget and as a sequel to The Awfull Dr. Orloff, this is a very enjoyable flick and a fine example of early Southern European horror. It's actually better than it's predecessor.The plot is not real important (it contains a zombie-like creature, a castle and a mad scientist). What makes this movie is the mood, the often beautiful camera-angles, the art direction and the hints of later Franco movies.For example, there's several scenes with women performing, often in erotic scenes, with men watching - which is exactly the kind of voyeuristic cinema Franco would turn to in later years (Vampyros Lesbos, Demoniac).There's - of course - quite some nudity, which must have been considered quite risque in 1964. And there's a small cameo for the director himself, as a pianist who seems to be blind.....Also of interest is the use of electronic devices used to make the zombie a murderous weapon, they give a strange effect to the movie and reminded me of early 50's sci-fi B-movies.All in all, recommended for Franco fans and b/w horrormovie fans. If you've never seen a Franco I suggest starting with Vampyros Lesbos or Female Vampire.