Lancoor A very feeble attempt at affirmatie action

Nessieldwi Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

Hayden Kane There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Brenda The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Sean Jump If THE AWFUL DR. ORLF doesn't quite reach the first rank of classic horror films from the 1960s, it is nonetheless an eerie, thoroughly entertaining little gem that deserves a broader audience. Director Jesus Franco establishes a rich, fog-haunted atmosphere that saturates the viewer in Gothic ambiance, and the story manages to rise above the limitations of formula for all that it lovingly embraces the familiar trappings of genre. The principal characters are believable and quite well acted, notably Howard Vernon as the eponymous mad doctor (who, awful as he is, is motivated to torture and kill young women in the vain hope that he can restore youth and life to his disfigured daughter) and Conrado San Martin as the police detective determined to track him down. Also noteworthy are Ricardo Valle as Morpho, the murderous but helpless thrall of Orlof whose shambling, blind killer is both frightening and yet somehow sympathetic, and the enchanting Diana Lorys, who essays a dual role as both the detective's ballerina girlfriend and also Orlof's comatose daughter. Lorys is blessed with beauty and charisma in equal measure, and her role is in many ways the central one of the film. The movie's only notable flaw is a pace that occasionally drags, but all the same the picture maintains interest and the eventual climax is not only fitting but exciting. Overall, THE AWFUL DR. ORLOF is a small but vital triumph, well-directed with an even hand and a fine Gothic treasure of 60s cinema.

mhantholz This originally played on the bottom half of a double-bill toplining "The Horrible Dr. Hichcock" (note: NO *t* in "Hichcock) and was a bonanza for every theater that played it, especially the drive-ins: I saw it at a drive-in in Rhode Island near Narragansett August '64, which was a cool '60s summer spot---they even had a race track (thoroughbreds, not NASCAR). Featuring a classic ad campaign---the one-sheets in mint condition are prized by collectors---this twin-bill followed a well-established trajectory for independent "exploitation" films: Played drive-ins Memorial Day to Columbus Day, then regular theaters ("hard tops" in trade lingo of the era) from Thanksgiving through New Year's. It topped the box-office grosses (reported in weekly Variety) when it broke wide in New York and Chicago Thanksgiving 1964. Unusually for such a tandem, both films fully delivered on their opening premise : mad doctor goes off the rails with his obsessions. "Hichcock" was director Freda's best---the U.S. version was only 76 min., the original ran 88 min---I saw this latter when I lived in London 1969, and was surprised that the English version had dubbing by English voices: this is *definitely* the version to get. I am aware that certain Franco aficionados regard this first "Dr. Orloff" as his best---I think "Succubus" aka "Necronomicon" ( in U.S. '68, Trans-American Films, subsidiary of A.I.P.) is and I saw it at its N.Y.C first run at the 59th Street East Theater, though I'd like to see ·VENUS IN FURS aka "Paroxismus" ('69)again, as well as 99 WOMEN ('69) aka "Island Of Despair", as well DIABOLICAL DR. Z ('66). I never trust home-viewing to give the full measure of a film---films of the pre- 1980 era were made with the theatrical audience firmly in mind. That goes double for B & W horror sci-fi. Like "The Awful Dr. Orloff". All other posts here note the similarity to what they call "Les Yeux Sans Visage". That film saw release as "Horror Chamber Of Dr. Faustus" ('62, Lopert Films through UA) with "The Manster". I was aware of the original title because at the time I got the French film mags "Positif" and "Midi Minuit Fantastique". For French class in high school I would do film reviews of these horror films and quote these mags while the other kids were reviewing "The 400 Blows" (*hawk-ptoo*), "Jules And Jim" (*barf*) and other flicks that were WAY too sensitive for my crude and primitive mental process. Franju's classic did not hit the U.S. with its original title until the late '80s, with the advent of the dvds catering to film"buffs". It is more plausible to point to "Circus Of Horrors" ('60) as a primary influence since it was a much bigger hit worldwide , by far. Same set-up: Mad surgeon undone by his obsessions. Since I've only seen "Awful Dr. Orloff" at home recently, I must reserve judgment. I'm very "high church" about that---the small screen experience is nothing like the impact of a theatrical viewing. This films was, and remains, ruggedly serviceable of its type. If you go for '60s mad doctor films, and relish black & white, this will fully satisfy. Others looking for more gore should stick with the post-1980 product.

Woodyanders Ruthless and obsessive Dr. Orlof (an excellent performance by Howard Vernon) abducts gorgeous young women so he can restore his disfigured sister Melissa's beauty. Earnest Inspector Tanner (a likable portrayal by Conrado San Martin) tries to nab Orlof. Meanwhile, Tanner's sweet ballerina girlfriend Wanda Bronsky (winningly played by Diana Lorys) poses as a cabaret singer to lure the diabolical doctor. Writer/director Jess Franco's first notable foray into the horror genre delivers a bold and creative blend of standard Gothic elements like the remote forbidding castle and fog-shrouded dark empty streets with such more racy contemporary ingredients as gore, nudity, and an offbeat experimental score. Moreover, Franco relates the luridly compelling story at a steady pace, stages the murder set pieces with real brio and style, does an expert job of maintaining a properly spooky atmosphere throughout, and even tosses in a few nifty nigh club scenes to further spruce things up. The acting is overall solid, with stand-out contributions by Riccardo Valle as Orlof's blind and malformed henchman Morpho, Perla Cristal as Orlof's reluctant assistant Anne, and Maria Silva as sultry singer Dany. Godofredo Pacheco's crisp and lively black and white cinematography offers a wealth of striking visuals (a shot of Orlof and Morpho carrying a body across a windy landscape is particularly stunning). The eclectic score by Jose Pagan and Antonio Ramirez Angel alternates between crashing free-form cacophony and more conventional shuddery ooga-booga stuff. Well worth seeing.

Oslo Jargo (Bartok Kinski) This film has nothing outstanding or even average about it, on the whole, it is the work of a very immature director who only wanted to make a film for money on the quick. The plot, or the tedious 1 & 1/2 hour worth of filler, is absolutely ridiculous. Insane dialogue is scattered in long tedious shots. The acting is atrocious, most of the actors look like they belong in some cheap cabaret on a skid row area of town, they can't express true emotion that the roles demand. Take for example the lead inspector, he is an insincere and unbelievable character whose inability to solve the obvious murder case is incredulous. I sat there bored to death, and the other reviewers said it was 'scary'. Nothing at all was frightening about this, the dumb monster is played by a guy in rubber make-up and he's also blind, someone should have just torched him. The ending is not only expected (heroine saved, monster killed) but abrupt and absurd, the lead inspector shoots the monster while it is holding the heroine from about 80 yards while it is up on the castle balcony. Avoid this if you can, it isn't worth anything.