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Even though everybody claims castle Montserrat has been uninhabited for
years, Christina (Christina von Blanc) goes there to visit her family &
await the reasing of her recently deceased father's will. The castle of course
is not empty at all but inhabited by Christina's weird family - including her
eccentric uncle Howard (Howard Vernon), her aunt Abigail (Rosa Palomar), their
mute butler Basilio (Jess Franco), the bitchy Carmenze (Britt Nichols), blind
Linda (Anne Libert), & Herminia, who has been dieing for many years now,
but when she sees Christina, she immeditately dies for real. However, after
her death things start to get really out of hand, when Christina finds dead
animals in her bed, but after only a few minutes they are gone without trace,
she sees Carmenze drinking blood from Linda, who willingly lets it happen,
learns that aunt Abigail & Basilio are in the habit of occasionally taking
people apart - limb by limb, has to find out that noone will believe her that
there are people living in the castle, & finally sees her dead father,
hanging from a tree, but otherwise pretty lifelike & even talking to her. It
all culminates in Christina being raped by uncle Howard, with most of the
family helping,, & Linda, the only one in the family who has showed
sympathy with her, being killed by Basilio. In the end, Christina becomes the
(naked) centerpiece in a weird ritual when ... ... when she is found in the
woods near the castle, & seems to be totally out of it, & the doctor
can nly state she is delirious, after her father's suicide & the days in
the empty, haunted castle ... but Christina's mind is still with her weird
family, & she now joins them at the other side of life & goes into the
water with them. Christina, princesse de l'érotisme marks a
triumph of atmosphere over narration, as director Jess Franco uses his story
only as a feeble coathanger to push its lead character (& the audience)
into the weird, nonsensical, surreal, erotic & erratic world of the
nightmare, in which reason as we know it does no longer exist. Of course, in
this context Jess Franco's eccentric cinematic language - consisting of weird
camera angles, depictions of weird details, many a zom-in & zoom-out -
makes perfect sense & blends in nicely with the proceedings. How little
his efforts were appreciated though can be seen by the fact that the film was
in the early 1980's spiced up with some zombie-scenes, repackaged & sold as
a zombie movie (which, following the success of George Romero's Dawn
of the Dead & Lucio Fulci's Zombi 2 were extremely popular
back then).
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