Necronomicon - Dreamed Sins
| Movie | |
|---|---|
| Original title | Necronomicon - Dreamed Sins |
| Country of production | Germany |
| original language | German |
| Publishing year | 1968 |
| length | 84 minutes |
| Age rating | FSK 18 |
| Rod | |
| Director | Jess Franco |
| script | Pier A. Caminneci |
| production | Adrian Hoven for Aquila-Film (Berlin) |
| music |
Friedrich Gulda arranged and compiled by Jerry van Rooyen |
| camera |
Jorge Herrero Franz X. Lederle |
| cut | Frizzi Schmidt |
| occupation | |
| |
Necronomicon - Dreamed Sins is a German, sado-erotic feature film from 1967. Directed by Jess Franco .
action
The film begins with a sadomasochistic scene in a torture room. A young man and a young woman, both half-bare, are tied to wooden struts, both upper bodies are smeared with blood from punishments. Like a dominatrix with a riding crop, a mysterious woman sneaks around them and carefully touches their bodies. It is the main character of the story, Lorna Green. The man in particular seems to have done it to her; she kisses his wounded chest and passionately tears off his shirt, which is already largely in tatters. The man doesn't seem to be disapproving of their advances, whereupon Lorna frees him from one of the chains on his right wrist. When the shackled short-haired blonde opposite him insults Lorna as a "hyena", she briefly lets go of her lust object and scratches the shackled woman with a long knife exactly along her slightly scabbed, bloody wound above her chest. The tortured woman screams loudly. What Lorna is doing is watched with interest by another man in a suit and tie, who is hiding. Lorna returns to her chained male victim. She continues with her sado-erotic games and briefly presses her bare chest against his. But then she pulls out a stiletto and obviously pushes it into his abdomen, causing the man to scream in pain. The light goes on, you can see an auditorium. All of this was just part of a morbid performance for a special Sado Maso show audience. In truth, no one was hurt. Lorna's lover, the American William Mulligan, is in the audience. When his neighbor asks him how he met Lorna, Mulligan tells of their first meeting in Lisbon.
Flashback: Mulligan experiences Lorna from the beginning as an erotic and enigmatic seductress who uses her charms while dancing. While she throws herself naked at Mulligan, the flashback also shows that Lorna is obviously in psychotherapeutic treatment from Ralf Drawes. In soft-focus dream images, clad in a more than airy red dress, she strides through several locations in the Portuguese capital and meets Mulligan again in a castle by the sea. While an old pianist is playing the piano there, Lorna steps in front of a large mirror, drops her dress and almost kisses her reflection in the mirror. She leaves the lordly place that seems to be her home and goes to a bar in a white evening dress, where she meets Admiral Rapp. They both play an association game and start dancing together. During the dance he undresses Lorna. Lying on top of him, Lorna stabs the admiral's eye out. But is all this just a dream or even a nightmare, a sensual-sadistic wishful thinking of a woman determined by a thirst for adventure and nymphomania who wants to test her limits? Or is it already reality?
The next morning, Mulligan wakes up next to Lorna, who is still asleep. Both leave their domicile and pass several plaintiffs. Admiral Rapp's body is laid out in an open coffin. And although it has long been a reality, the nightmare of the previous night has come true: A long needle is stuck in Rapp's right, bleeding eye. Then the couple goes to a stand-up party populated by bored yuppies, shimmering young girls, a transvestite and a conducting dwarf. Drawes is also present, obviously he is part of this intellectually giving clique. Everyone is given a piece of sugar that has obviously been soaked in LSD beforehand . Society soon finds itself in a single frenzy, only Drawes stands a little apart and cites literary thoughts from books. After a day in the great outdoors, Lorna and Bill go to a night bar and meet an old friend Williams. Here, as before, a stranger speaks to Lorna and calls her "Countess". It becomes apparent that Lorna must have led a second, a double life. Bill observes this encounter with the stranger with some suspicion. Lorna claims that she has never seen this man before. William gets a fit of jealousy and begins to shake her up.
Back in her dream world, Lorna spends erotic moments in her Portuguese palace with another woman, the blonde Olga. Dressed in historical costumes, there are lesbian love games. But all of a sudden Lorna is overcome and, as before with Admiral Rapp, thoughts of murder awaken in her. She seems to want to kill Olga, who is trying to escape, with a white sculpture. Then Lorna suddenly disappeared. Life-size mannequins move threateningly towards Olga, who is locked in the room. She screams in agony, Lorna reappears between the dolls. She has a long dagger in her hand with which she stabs Olga and finally slaughters her. After the bloody act she begins to kiss one of the dolls tenderly and to caress the breasts of another. Lorna wakes up lying on the floor in the midst of her mannequins. Had she dreamed again, was it possibly reality this time? She discovers blood under a mannequin. Confused and frightened, Lorna runs out of her palace and races to her lover's apartment in her red sports car . But he's no longer there, left for Germany.
Change of location Berlin. Lorna has followed William, and he then proposes to her. Both have passionate sex. And yet something has apparently changed in Bill, he has long been planning to get rid of Lorna. Then the man from the opening scene comes back into play, who had watched Lorna at the torture show from the darkness. During a conspiratorial meeting with him across from the Memorial Church, William orders Lorna to be murdered. Plagued by migraines, Lorna instinctively suspects that the viewer of the torture show, unknown to her, is up to something terrible. And again she finds herself in her own torture show, with the same participants from the beginning of the film. But this time the scene is real - no dreams, no visions, no fake. As if in a trance, she stabs the two chained people in a cellar under Williams' eyes and, fully conscious again, runs away in panic when Bill yells at her. He heard several shots fired from outside, followed by the screams. When Bill returns to his Berlin apartment, Lorna is to his great surprise lying on his sofa - completely naked and just as unharmed. She asks him "kiss me". When he obeyed her and kisses her, Lorna rammed a long knife into his neck from behind. Then she goes on with Williams, who has obviously broken contract and continues to call her "Countess", far, far. “You are at the end of your journey,” he says, and she replies, “I am exhausted. I want to forget and be silent ”. Both walk hand in hand into their Portuguese palace.
Production notes
Necronomicon - Dreamed Sins was filmed in autumn 1966 in Lisbon , Sintra and the surrounding area and in West Berlin . The film had its world premiere in June 1967 during the 17th International Film Festival in Berlin (although not in the official program). The film passed the FSK exam on January 25, 1968 and was released in German cinemas on April 19, 1968. This work was the first German production by the Spanish director Jess Franco and became a great commercial success. In the following year, producer Adrian Hoven produced further productions with a sado-erotic orientation, Rote Lips - Sadisterotica , Kiss me Monster and Im Schloß der Bloutigen Desire , and in some cases used the same staff (e.g. leading actress Janine Reynaud and Cameraman Jorge Herrero ).
Karl Heinz Mannchen was in charge of production and production, while H. Peter Krause created the film structures. Irmgard Förster was a make-up artist, Hans Dieter Schwarz provided the sound. Karl Lagerfeld designed the dresses for Janine Reynaud . Depending on the editing specifications, there are versions between 77 and 84 minutes.
The palace of the "Countess" shown in the dream sequences is actually one of the landmarks of Lisbon, the Torre de Belém . The dream sequences are deliberately kept out of focus in order to distinguish them from the real sequences.
Internationally, Necronomicon - Dreamed of Sins was sold under the title Succubus , the US premiere was on April 7, 1969. In 2009, the film was shown in the Fantastic Fest, which specializes in fantastic science fiction and horror films in Austin (Texas) .
synchronization
| role | actor | German voice actor |
|---|---|---|
| Lorna Green | Janine Reynaud | Rosemarie Fendel |
| William Mulligan | Jack Taylor | Gert Günther Hoffmann |
| Ralf Drawes | Adrian Hoven | Adrian Hoven |
| Admiral Kapp | Howard Vernon | Howard Vernon |
| Bella Olga | Nathalie Nort | Margot Leonard |
| Pierce | Michel Lemoine | Michael Chevalier |
Reception and reviews
Director Franco was very pleased with his work. In an interview he said: “ Necronomicon - Dreamed Sins was my first opportunity to make a film the way I imagined it would be. I am very amazed that the film had such a success ”.
“Scenes strung together without a plot, in which a girl indulges in sadistic sex games. The ambitions in the formal design that have congealed into kitsch also make the film aesthetically unbearable. "
“… Can never really decide whether it wants to be a topless exploitation film or a nice, erotic horror story about a mentally confused woman with bizarre, sexual preferences. It turns out to be a bit of a bore (...) with a lot of lush, false dream sequences and sadomasochistic love scenes, all in extensive, sticky color photography. "
Spain's Guia del video-cine writes about the first foreign assignment of the local cult director Franco: “A film dream about sado-erotic feverish fantasies of a tormented female person (the unsettling Janine Reynaud), which suggests a visual and narrative style that was quite unique and strong at the time was influenced by the comic (especially the Guido Crepax '). ”At the same point it says that Franco's colleagues Anatole Litvak and Fritz Lang should have appreciated the film very much.
The online film database states: “Many people will only know Jess Franco as a crude trash filmmaker, but a film like this is a fine example of the artistic ambition he displayed, especially in the 1960s. "Necronomicon - Dreamed Sins" blurs reality and dream, fantasy and madness, lust and death into one another. His pictures look like paintings, painted instead of filmed. The camera exercises itself in very individual perspectives and in a more creatively conceived, original image composition to manipulate the viewer. The story, enriched with provocative S&M erotic scenes for the year of its creation, is difficult to see through, looks artificial and aloof through and through, does not make it easy for the viewer, even deliberately confuses them. Franco put no emphasis on classic narrative patterns and relies on the aestheticization of the individual sequences. "
Web links
- Necronomicon - Geträumte sins in the Internet Movie Database (English)
- Necronomicon - Dreamed Sins at filmportal.de
Individual evidence
- ↑ Der Spiegel No. 29, 1967
- ↑ Danny Shipka: Perverse Titillation: The Exploitation Cinema of Italy, Spain and France, 1960-1980. P. 187. McFarland, 2011. ISBN 0786448881 .
- ↑ Necronomicon - Dreamed Sins. In: Lexicon of International Films . Film service , accessed March 2, 2017 .
- ^ Carlos Aguilar: Guia del video-cine, p. 806, 4th edition. Madrid 1992
- ↑ In the original: "Film onirico acerca de los delirios sadicoeroticos de un atormentado personaje feminino (la inquietante Janine Reynaud), propónia una construccion narrativa y visual bastante insolita para la epoca, fuertemente influenciada por el" Comic "(Guido Crepax" especialmente).
- ↑ Necronomicon - Dreamed Sins on ofdb.de