Robert Monell & Alex Mendíbil Blog Alliance


with 10 comments

The enthusiastic hostess (Esther Moser, GRETA THE MAD BUTCHER) of a cable broadcast Reality Television program focused on all aspects of eroticism, takes the audience on an interactive journey to various cities around the world, visiting notorious sex venues, sometimes taking part in the action as she breathlessly promises more to come. This is a review of the hardcore 87m version of this Mondo style film, which had been unavailable for many years, and is now out on Blu-ray from Producer Erwin C. Dietrich’s Ascot company.

MONDO EROTICO-AROUND THE WORLD IN 80 BEDS, is not first, second or even third tier Jess Franco. It’s more of a curiosity which provokes the question: What is a Jess Franco film?  In this case I would guardedly agree with the IMDB listing of this as an Erwin C. Dietrich-Jess Franco composite, with nary a trace of Franco’s name in the credits of the hardcore version. As with so many Jess Franco films it opens as a “show” and the viewer is the audience. The cable viewers are invisible and we are rather like the protagonist in David Cronenberg’s  VIDEODROME (1983), locked into position in front of a broadcast where exotic, and sometimes violent, sexual displays are offered. All similarities end there, though, since it’s made clear that this is lighthearted entertainment and never as dangerous as it appears to be onstage.

The opening credits roll over stock footage of New York City, from the waterfront to 42nd street, before finally settling down into a sadomasochistic ritual set in Greenwich Village. Of course, Jess Franco didn’t shoot any of this or any of the further footage of world sex capitals. Cu to a cramped interior (all the interiors seem to have been shot in the same small studio stage, a rather narrow space which forces the eye to focus toward the back of the composition, creating a minimalist sense of depth.

This first episode immediately evokes the opening S&M performances of NECRONOMICON (1967) and EXORCISME (1974). A naked woman is tied to an X shaped crucifix, tortured and sexually mutilated with a sword as upscale libertines lounge and enjoy the Sadean spectacle. Peter Baumgartner’s camera performs some minor wonders here, given the severely limited mise en scene, with eye catching color, lighting and framing. Baumgartner lensed most of the Franco-Dietrich product and he was a skilled, reliable craftsman. He and the producer also supervised the transfers of these Golden Goya Blu-rays, which were well preserved and maintained under Dietrich’s stewardship in his Zurich based operation over the decades. This explains why they look superior to most other Franco Blu-ray releases, and they are all worth the investment in terms of collect-ability/video/audio quality. Jess Franco is credited as DP on the box, but knowing Baumgartner’s work I would give the nod to him, with a Jess Franco assist for certain scenes, such as the first episode.

Most of the other episodes, set in Copenhagen, San Francisco, Amsterdam and Hamburg, are strongly reminiscent of any number of Dietrich directed soft/hardcore products. An episode set in the Antilles, a staged virginity ritual, does have some of the amusingly “native” quality of the Franco-Brauner ROBINSON UND SEINE WILDEN SKLAVINNEN (1971), a minor delight but certainly superior to this and certainly a Jess Franco film all the way. The least Franco-esque episode, set in an Adult Ed sex class, where masturbation aids are displayed and techniques demonstrated, is as low brow, crude and dim-witted as possible. It could have been taken from any Dietrich/West German sex report film of that era, but has no sense of Franco’s personal humor, subversive touches or redeeming style. There’s no acting or interesting characters in this film, although Ms. Moser is an enthusiastic hostess, if lacking in anything approaching charm. The episode about a dominatrix is similarly witless and runs much too long.

Another episode, set in an Istanbul brothel, uses the same set decorations, actors (including Eric Falk and Pilar Coll) and camera set-ups as MADCHEN IM NACHTVERKEHR/HEIDER SEX IM NACHTVERKEHR, yet another 1976 hard/softcore item, which I would definitely classify as a Franco -directed due to its sense of visual irony, droll humor and sometimes ethereal atmosphere. That one has no exteriors whatsoever and is sometimes attributed to Dietrich in references. It deserves its own separate review  which I’ll post  here in the future.

For the record, DAS FRAUENHAUS aka BLUE RITA (1977) and DAS BILDNIS DER DORIANA GRAY (1976) remain personal favorites among the Franco-Dietrich canon. The appearance of this title on Blu-ray after the passing of Jess Franco takes away the possibility of him confirming of denying ownership of this title. Apparently he did not include it in a previously list he composed of films he directed. It’s certainly represents slick marketing by Ascot Elite. Anything bearing the brand name “Jess Franco” has an immediate sales base. Far from a crucial viewing or even a recommended one, it does confirm how the stylistic values and distinctive personal vision of Jess Franco cannot be faked or emulated.

The mind tends to drift while watching this and one wonders, among other things, if the title is an in-joke reference to Jess Franco’s supposed appearance, as an extra, in the big budget Hollywood Jule Verne epic AROUND THE WORLD IN 80 DAYS (1957).

More Franco-related than anything approaching an auteur piece, this is not a must-have or even required viewing. If the relevant question is this: Outside of something partially or wholly directed by Jess Franco, what exactly is a “Jess Franco” film? A quick answer would be, not MONDO EROTICO-IM 80 BETTTEN UM DIE WELT.

(C) Robert Monell, 2016

Written by Robert Monell

4 marzo 2016 a 9:40 PM

10 comentarios

Subscribe to comments with RSS.

  1. The same question occurred to me while watching this, and the same tentative conclusion. It seems as if Franco did not cite this to Álex Mendíbil for his FILMOGRAFÍA OFICIAL, whereas Weiße Haut und schwarze Schenkel is so listed. While I won’t be revisiting this, at least it was lighthearted and relatively easy-viewing, unlike the also cheap-looking White Skin. Do you think Dietrich may have played a larger (than usual) part in making that one too? Its ending especially seemed very unlike Franco to me.


    5 marzo 2016 at 10:30 AM

  2. Franco was at my flat in Madrid in the 90s a little after the Golden Beetle period. I had a Spanish press book on the wall for MADCHEN IM NACHTVERKEHR (can’t remember the Spanish title – “Mujeres a Medianoche” or something like that). Franco pointed it out and said that the film was one of his, but “nobody knew about it”. He said he did some of the sequences, but not all.


    5 marzo 2016 at 12:22 PM

  3. Thank you for the info Simon! This is important news as nobody is certain of the authorship of that movie. Could you give us more information? Are you sure there was a Spanish press kit for the movie? As far as I know it wasn’t released here…

    Álex Mendíbil

    5 marzo 2016 at 1:08 PM

  4. Reblogueó esto en kinodetour.


    5 marzo 2016 at 5:17 PM

  5. Hi, the press kit is in storage in Madrid, so I can’t get to it unfortunately! My memory is that it was “mujeres de medianoche” or maybe “trafico de mujeres”. I’ll ask some friends. The poster / press-kit had a dark background. I had a ton of material on the Clasificada S films, including Franco’s. “Aberaciones Sexuales de Una Rubia Caliente”, anyone?



    5 marzo 2016 at 10:42 PM

  6. Thanks for the information, Simon. There are two versions of that one and the softcore plays more like a Franco film while the hardcore I’d padded with 30 m of XXX inserts, added by Dietrich

    Robert Monell

    6 marzo 2016 at 2:24 AM

  7. I think that one was largely directed by Jess due to the style and the story which is a remake of SINNER. But the ending was probably imposed by Dietrich who avoided serious downbeat drama on Sex films. But he did let Jess do Doriana Gray

    Robert Monell

    6 marzo 2016 at 4:29 AM

  8. My good friend Carlos Aguilar, collaborator and expert on Franco believes MADCHEN IM NACHTVERKEHR was never released in Spain. So the answer will have to wait until I get back to Madrid and find that press kit!


    6 marzo 2016 at 11:20 AM

  9. “Aberraciones sexuales de una rubia caliente” is the Spanish title for “Die teuflischen Schwestern” (1977 according to iMDB).

    On the first issue of Spanish comics magazine “Rambla”* awarded comics artist Kim** — drew a story reflecting on sexual repression in Spain in which the main character went to a cinema where that film was being shown -I believe Kim used copy-pasted an “ad” of the film for his story-. Paradoxically editor Luis Garcia continued on this magazine with his story “Nova 2” -which he began years earlier and which he wouldn’t finish until the early 2000s, in its latest compilation-, about a comics artist dealing with his vital frustrations.

    * A kind of multi-genre Spanish version of the Metal Hurlant cooperative where the authors left progressively -due to the low profits- leaving only the main publishers as members of it, apart from all the authors which were being paid so far to publish.

    **Artist of “El arte de volar” from a script by Antonio Altarriba and which got on its day the National Comics Award, and also writer of “Martinez el Facha”, a comics character who is a lighthearted parody of Spanish fascists, drawn similarly to actor Jose “Saza” Sazatornil, one of the mainstays of Berlanga, don’t know if he worked with Franco. Eventually “Martinez el Facha” would be adapted to a web series hosted by the magazine where “Martinez el Facha” was published, “El Jueves”, where he still collaborates. The actor wasn’t Saza -who was still alive at the moment but maybe didn’t want to participate, he was old- but Manuel Manquiña, who rose to fame by Spanish “enfant terrible” Juanma Bajo Ulloa’s “Airbag”, one of Spain’s biggest box office hits by a filmmaker who has only made five films or so since his feature film debut “Alas de mariposa” (“Butterfly Wings”), a dark psychodrama which got the biggest award at the San Sebastian film festival in 1991, as dark as any Franco film, also about repression.


    27 marzo 2017 at 12:30 PM

  10. Also, one of the mainstays of comics magazine “Rambla” was Enric Sió, of the “gauche divine” of Barcelona, which was involved with “Justine” at least. His series of short comics stories “Mis miedos” (“My fears”) has several surprising coincidences with Franco (themes, images, Emma Cohen)… He knew comics artist Guido Crepax personally, who Aguilar “points out” -don’t know if this is written correctly- as an influence of Franco’s.


    27 marzo 2017 at 12:35 PM


Introduce tus datos o haz clic en un icono para iniciar sesión:

Logo de WordPress.com

Estás comentando usando tu cuenta de WordPress.com. Cerrar sesión / Cambiar )

Imagen de Twitter

Estás comentando usando tu cuenta de Twitter. Cerrar sesión / Cambiar )

Foto de Facebook

Estás comentando usando tu cuenta de Facebook. Cerrar sesión / Cambiar )

Google+ photo

Estás comentando usando tu cuenta de Google+. Cerrar sesión / Cambiar )

Conectando a %s

A %d blogueros les gusta esto: