The Demoniacs Nude
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The Demoniacs Nude
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A gang of pirates rape the two sole survivors of a ship wreck. The violated girls are rescued by the strange inhabitants of a supposedly haunted island, where they are granted supernatural p... Read all A gang of pirates rape the two sole survivors of a ship wreck. The violated girls are rescued by the strange inhabitants of a supposedly haunted island, where they are granted supernatural powers to strike revenge against the pirates. A gang of pirates rape the two sole survivors of a ship wreck. The violated girls are rescued by the strange inhabitants of a supposedly haunted island, where they are granted supernatural powers to strike revenge against the pirates.
Several anachronistic items, including a plastic doll head are used as decoration in the bar.
The Image Entertainment DVD is missing the graphic rape sequence between Tina and the Captain. This footage was left out at the director's request due to personal reasons he had with his distributor at the time.
Unknown title Music by Pierre Raph Lyrics by Jean Rollin Performed by Louise Dhour
A group of shipwrecked sailors brutally rape two young woman and the woman re-emerge after making a pact with the devil to get their revenge. More of the same from Jean Rollin. The music is improved here, but the plot makes practically no sense. Some people have tried to defend the film by saying it should be seen as an "art" film. Rollin does indeed have a unique view of art. If you want to see more of the same nude women and pointless sex scenes, this is for you... but as far as plots go, this is not one of Rollin's stronger films. But it does have a clown... so, I guess that might be good?
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By what name was The Demoniacs (1974) officially released in India in English?
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Long Time: 77min Year: 1968 ( IMDB - 5.4 )
Release Date: 5 December 1974 (France)
Alternative name: Curse of the Living Dead
Description: Le Capitaine, le Bosco and two other sailors are dangerous ship wreckers. This time, they have done even worse mischief than usual, for not content to have lured a ship into coastal rocks and plundered it, they have also brutally raped and left for dead the two girls who have survived the wreck. But helped by a mysterious clown, by an exorcist on the beach and by... Satan himself, the two virgins turned she-devils will ruthlessly exact their terrible vengeance.
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Posted by Samm Deighan | Dec 18, 2012 | Home Video , Slider | 0
The late French director Jean Rollin made a name for himself with a number of obscure erotic horror films, most of which are concerned with nude vampires – The Rape of the Vampire (1968), the aptly named The Nude Vampire (1969), Lips of Blood (1975), The Living Dead Girl (1982), etc. He also made a handful of dream-like, disorienting horror films not associated with vampires, such as The Iron Rose (1973), The Grapes of Death (1978), Night of the Hunted (1980) and 1974’s The Demoniacs , also known as Curse of the Living Dead .
The Demoniacs is an odd blend of rape-revenge, pirate fantasy and erotic ghost story. This is an excellent example of the French cinema fantastique, which flourished in the 1960s and 1970s, blending horror, fantasy, erotica, and low budget production values and usually placing an emphasis on mood and visuals, rather than on linear narrative. Since Rollin’s death in 2010, many of his films have fortunately been released on DVD, including the ten now available from Kino Lorber and Redemption. Though his work is not for everyone, it has languished in obscurity far too long.
A small band of pirates are looting a shipwreck when they discover two young female survivors. Encouraged by sadistic pirate Tina, the others rape and murder the two young women, who soon return to haunt them. The two speechless blonde women may still be alive, or they may be ghosts, but in order to revenge themselves against the pirates, they are temporarily given the power of a mysterious, satanic man kept prisoner in church ruins the locals believed to be cursed. They hunt down and terrorize the pirates, leading to a surprising, violent climax.
The Demoniacs’ nonsensical surrealistic plot is more melancholic than scary. Rollin refuses to answer any of the questions that arise – such as whether or not the girls are ghosts – but it benefits this odd, seaside tale of revenge. Though there is little graphic violence, there are a few murders and several rape scenes that are unpleasant, but fortunately tame compared to similar rape-revenge films from the period. There is almost constant female nudity and several softcore sex scenes, including a very lengthy scene of Tina masturbating on the beach while the two blonde girls are raped for a second time. The ending is anticlimactic, yet has an air of tragedy that suits the film. Look out for the guardian angel-like clown!
The undisputed star is Joëlle Coeur, the constantly nude, malicious female pirate. Her charisma moves this slowly paced, sometimes plodding film forward, as do the surreal set pieces. The acting is otherwise dull, or, at best, mediocre – typical of a Rollin film – and includes actors he worked with throughout his career, such as Willy Braque from Lips Of Blood and Paul Bisciglia from The Grapes Of Death . Leading lady Coeur also appeared in Rollin’s erotica films Schoolgirl Hitchhikers (1973) and Bacchanales Sexualles (1974). The Demoniacs’ lack of dialogue certainly helps this from descending into ridiculousness and is characteristic of much of Rollin’s work, which he wrote as well as directed.
The disc’s French language audio track is in LPCM 2.0 Mono with optional English subtitles. The Demoniacs ’ scant dialogue sounds clean, and though there is a slight hiss throughout the film, it is not too distracting. A wonderful score from Pierre Ralph is definitely one of the highlights of The Demoniacs , and also sounds well balanced here.
The Demoniacs was mastered in high definition from the 35mm negative and is presented in a 1.78:1 aspect ratio. Kino and Redemption have not done any actual restoration work, so there are some occasional damages, white flecks and scratches. Though the print is not perfect, the non-interventionist transfer preserves the “film” look of the presentation. This is certainly the best available and is a big improvement over previous releases. The film’s odd, hallucinatory set pieces are enhanced by Jean-Jacques Renon’s absolutely beautiful cinematography. The Demoniacs ’ haunting beach scenes are some of the best in the film, both poetic and threatening, and emphasize Rollin’s concern with style and mood over narrative structure.
There are a number of extras, including a three-minute introduction to the film from Jean Rollin, two lengthy deleted sex scenes presented in high definition and widescreen, and two minutes of unnecessary outtake footage. There are interviews with actors and Rollin-collaborators Natalie Perry and Jean-Pierre Bouyxou, the latter of whom speaks about his years of involvement with Rollin, as both an actor and a crew member. This is completed with a collection of high definition trailers for eight different Rollin films, all of which have been released by Kino and Redemption. Also accompanying the DVD is a 16-page booklet with informative notes from Video Watchdog’s Tim Lucas.
In good conscience, I can only recommend The Demoniacs to Rollin initiates or seasoned Eurohorror fans, as it is certainly an acquired taste. This fantastical, surreal blend of erotica, horror and revenge will delight some viewers, but leave others confused and frustrated, particularly during moments that opt to be willfully confusing and nonsensical. Neither the best nor worst of Rollin’s work, The Demoniacs has plenty to offer in the way of lush, dreamlike imagery, which remains the primary reason to seek out this installment in his canon.
Samm Deighan is Associate Editor of Diabolique Magazine and co-host of the Daughters of Darkness podcast. She's the editor of Lost Girls: The Phantasmagorical Cinema of Jean Rollin from Spectacular Optical, and her book on Fritz Lang's M is forthcoming from Auteur Publishing.
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Joëlle Coeur, John Rico, Lieva Lone, Louise Dhour, Miletic Zivomir, Patricia Hermenier, Paul Bisciglia, Willy Braque
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Welcome to the theater. Mind the leaking roof.
In a late-nineteenth century coastal village somewhere in Europe, a gang of land-moored pirates routinely use lights to deceive ships into wrecking upon the sharp rocks, and subsequently loot the remains. But one evening, after triumphing over their latest bounty, they see two blonde girls dressed in white nightgowns striding toward them from the sea – in the shallows, they seem to be divine, walking on water. The pirates rape and attack them. They think they’ve murdered them, but the village’s potent superstitions – that the wronged spirits of the dead might free a demon imprisoned in a nearby islet’s ancient ruins – lead them back to the crime scene. When they find the girls still scrabbling around the bones of wrecked ships, a fight and conflagration ensues. Yet the two castaways find their way to the ruins, where they encounter: a colorful clown, the long-bearded “Keeper of the Tomb,” and the mysterious man deep in its catacombs, waiting to lend his magical powers to innocents seeking revenge.
The guilt-ridden pirates: Paul (Paul Bisciglia), Bosco (Willy Braque), and the Captain (John Rico).
Even for a Jean Rollin film, The Demoniacs ( Les démoniaques , 1974) is a very strange experiment. Although the setup seems straightforward, the style is so abstracted that the narrative is frequently incoherent, or deliberately absurd; a character who seems to be killed might return, perfectly healthy, a scene later. (This lends the film to a variety of interpretations, one of which is that the two girls were never alive in the first place.) Our cast seems to be stuck inside a repeating loop: rape, murder, avenge, repeat. They stumble through these actions with increasing paranoia and panic. Even when the two girls finally arrive at the island (an hour into the film) and have sex with the man in the tomb, thus gaining his mystical powers for the length of one night, that black magic is only used for a brief scene in which the girls force religious statuettes to tumble from the tops of the ruins, one crushing Demoniac ‘s femme fatale. (In a Surrealist’s prankish gesture, Rollin has the figure of Jesus land upon the woman’s torso as though he were mounting her in the missionary position.) But Rollin shows his hand with the pre-credits sequence, an old-fashioned serial-styled introduction of the pirates, one at a time, as the narrator dishes out their biographies – much of which happens to be irrelevant detail. Immediately we can tell this movie isn’t meant to be taken seriously; once more Rollin is indulging his love of movie serials of the past. (Pierre Raph’s score also mimics the melodrama of old movie serials, dipping into library music for a deliberately cheesy effect.) Anyone looking for another Gothic vampire film should go elsewhere, as those overt supernatural elements which are in play are minimalized and eventually made irrelevant. That said, the film is just as erotic as those earlier films, if not more so, with nudity and sex galore, some of it on that uncomfortable-looking beach and its towering rocks.
Rollin's "It" girl of '73-'74, Joëlle Coeur, plays the lusty (and frequently unclothed) pirate Tina.
Once more Rollin dips into his repertory company to fill out his cast, most notably by casting the voluptuous Joëlle Coeur, she of the Rollin softcore romps Schoolgirl Hitchhikers ( Jeunes filles impudiques , 1973) and Bacchanales Sexuelles ( Tout le monde il en a deux , 1974). Coeur, unlike many of her peers, resisted the pull into hardcore pornography, though her work for Rollin is decidedly uninhibited. Here, as the would-be pirate queen “Tina” (is that really the best female pirate name Rollin could muster?), Coeur is at her most animalistic, bloodthirsty – delighting as her companions rape the two castaways – and then sexually aroused by her own bloodlust. The beauty possesses the spirit of the tortured Captain (John Rico, Alex in Wonderland ), who can hardly resist her charms, even as he’s driven toward hysteria as the film’s events unfold. Rico has the film’s best scene: while drinking himself into a stupor in the village saloon, he hallucinates, Macbeth -style, that blood is dripping over his hands and into his cup. When he lifts his head, he sees the ghosts of the two girls, blanched white, gazing down on him from the landing above, blood oozing from their wounds. Willy Braque, the jewel thief from Schoolgirl Hitchhikers and soon to cameo in Rollin’s superior Lips of Blood (1975), looks like Tintin ‘s Captain Haddock and is quite effective as the more ruthless (and level-headed) member of the gang. I can only assume that the Castel twins weren’t available to play the two blonde victims, since the part seems tailor-made for them. Instead, these paired females, who seem to drift through all of Rollin’s films, are played by Lieva Lone and Patricia Hermenier. Their roles are more physically demanding than anything else; in one memorable scene, they crawl on their hands across a beach at night, mirrored by the white crabs scuttling next to them. Louise Dhour from Requiem for a Vampire (1972) here has a choice role as a psychic bartender. I was pleasantly surprised to see the mysterious clown revealed as none other than the moon-eyed Mireille Dargent from Requiem ; however, if I were ever to encounter a clown in the ruins of a tomb, I would get the hell out of there.
Mireille Dargent of "Requiem for a Vampire," well-disguised, plays the clown who greets visitors to the island's haunted ruins.
I wouldn’t call The Demoniacs a successful Rollin film; it’s ponderously paced (even for Rollin), and continually, even deliberately undermines its more intriguing story elements, to its own detriment. Nonetheless, it’s valuable in his filmography as a step forward toward Lips of Blood (which I’ll discuss next week), as he begins to reconcile the overt and lyrical surrealism of The Iron Rose (1973) with a more solid narrative, with the goal of creating cinema that unfolds like a waking dream. The fable-like elements at play in The Demoniacs have lots of possibilities, of which he never quite takes full advantage. Still, the landscape here is memorable, from the beach, which is decorated with shipwrecks, to the labyrinth-like island of towering ruins, like something out of Lovecraft. And here’s your chance to see what a Jean Rollin saloon looks like – with splayed bats and obscene artwork on the walls, and the same barmaids getting fondled by the same men 24/7. Say what you will about Rollin, but he was an original.
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