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That – surely – is a good thing in a sterile world of by-the-numbers blockbusters and wretched remakes.
This rapidly roving style is a trademark of Franco's film-making, sometimes derided - until you suddenly realise it all makes perfect sense, that his films are an extension of his own mind, and it's a mind that's never content to be static.Franco developed something of an obsession, a fascination, with the unreally beautiful actress Soledad Miranda in the early 70s that ended when this graceful, hypnotic soul tragically died young, at the age of 27 - killed in a car accident, shortly after being offered a big movie deal from a German producer that would have seen her fame soar even higher. The doe-eyed and effortlessly nubile Lina Romay, Franco's next obsession, flirted her way into his director's lens of vision soon after, and she became his star, of nearly every movie made from 1972 onwards – and his lover for the rest of her life. Just a few, but now seemingly far away, years ago, Lina Romay supported Jess Franco as he appeared in a wheelchair to collect the Spanish Goya award - a high honour for his lifetime of achievements in movie-making (and respectability of sorts at last).Despite the often lurid subject matter of many of his films that will perhaps deter some, the director has always remained a free spirited film-maker; has always zoomed the camera his own beloved, sometimes apparently random way, and blended his most beloved jazz or any other kind of music that perks his interest, into the filmic mix - in the same way David Lynch has often attempted to do in his movies, equally successfully, over the years.In the case of Lina Romay, his one true love, he stayed with her, as she did for him, for the rest of her life.But Romay was never faithful, deliberately not in front of the camera.