All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

The acting in this movie is really good.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

This is the slickest Jess Franco film I have seen. In fact, the difference in production values between this and something like 'Dracula Contra Frankenstein' is so staggering, they seem like the work of two different directors. The actors, including a wild-eyed Klaus Kinski and a shifty-looking Dennis Price, look immaculate. Only the over-used footage of the Rio carnival betrays the less shiny quality of its spliced-in origins.James Darren plays Jimmy Logan, a jazz musician who becomes obsessed with beautiful Wanda (Maria Rohm), whom he finds dead on a beach in Istanbul (this scene opens the film, with swathes of backstory told in flashback, narrated in film noir-ish style by Darren). We are then treated to a swirling, delirious cocktail of sex and horror intrigue, often threaded through with the image of a girl in furs who looks like a mannequin – there is one lengthy scene where she appears to seduce, torture and kill Price's Percival Kapp whilst alternating between dream and reality. It is very weird, intoxicating and even more impressive because the fantasy is played without any dialogue.One of my favourite characters here is the least complex. Rita (Barbara McNair) makes no secret of the fact that she adores Jimmy in spite of his infatuation with Wanda. McNair's expressions of forlorn longing and subsequent dejection when she realises she has lost her love, are powerful, and we are relieved for her when she finally musters up the sense to make a dignified exit. However, she literally has the last laugh, as it is Rita who sings out the title song over the end credits, full of life ad gusto, which is more than can be said for her ex.For such a delirious, jazzy cocktail of a film, it is Franco's restraint that makes it work so well. His trademark zoom-ins are here, but used sparingly, and only to enhance a mood. Filtered camera effects also abound, but only in tone with what is revealed to be going on. I enjoyed 'Venus in Furs' very much for its consistent storyline (the twist at the end doesn't make much sense, alas) and atmosphere. I also very much enjoy Franco's tatty, less acclaimed works for opposite reasons.

Traumatized trumpet player Jimmy Logan (a solid and likable performance by James Darren) discovers the beautiful dead body of mysterious femme fatale Wanda Reed (smoldering and mesmerizing blonde Maria Rohm) on the beach in Istanbul. Things take a turn for the strange after Wanda shows up still alive in Rio. Logan and his singer girlfriend Rita (a delightful portrayal by the delicious Barbara McNair) soon find themselves caught up in a dangerous whirlpool world of deception and debauchery that also involves predatory lesbian Olga (luscious brunette Margaret Lee), depraved rich playboy Ahmed Kortobawi (Klaus Kinski in peak suavely slimy form), and art dealer Percival Kapp (a brief appearance by Dennis Price).Director Jess Franco, who also co-wrote the abstract, yet intriguing script by Malvin Wald, relates the engrossingly outer story at a hypnotically deliberate pace, does an ace job of crafting an arrestingly far-out, oblique, and enigmatic dreamy atmosphere, pulls off a neat supernatural twist ending, makes nice use of the exotic locations, and delivers a satisfying serving of tasty female nudity along with a sizzling smidgen of sizzling S&M-flavored soft-core sex. Angelo Lotti's stylish cinematography provides a sumptuous bright look and boasts lots of funky visual flourishes. The supremely groovy jazz score by Manfred Mann and Mike Hugg hits the swanky'n'swinging spot. Both Frnco fans and aficionados of oddball 60's psychedelic cinema should totally dig this one.

In Istanbul, the trumpet player Jimmy Logan (James Darren) is dazed and confused on the beach and finds his musical instrument buried in the sand. Then he sees a woman in the sea and he pulls her body from the surf. He recognizes her as Wanda Reed (Maria Rohm), a gorgeous woman that he saw in the party of the playboy Ahmed Kortobawi (Klaus Kinski). Then he saw her being whipped and raped by Ahmed and his friends Percival Kapp (Dennis Price) and Olga (Margaret Lee).Jimmy travels to Rio de Janeiro and spends the Carnival playing with a jazz band and his girlfriend Rita (Barbara McNair) in the nightclub of Herman. One night, Wanda Reed comes to the club and Jimmy becomes obsessed on her. Sooner he leaves Rita and stays with Wanda. Meanwhile, she kills Percival, Olga and Ahmed dressed in furs. When the police seek out the woman, Jimmy discovers a secret about Wanda Reed and him."Venus in Furs" is a surrealistic film by Jess Franco with James Darren (from The Time Tunnel) and his muse Maria Rohm in the lead roles and Klaus Kinski in a minor role. James Darren's narrative is boring and the annoying music may please jazz fans only. A jazz band playing in a club in the Carnival of Rio is a joke from someone that does not even know the Carnival in Rio. The resolution of the plot is actually a senseless mess but the atmosphere is intriguing. My vote is five.Title (Brazil): "Venus in Furs"

Jesús Franco fans consider "Venus in Furs" his grand achievement. It concerns the surreal odyssey of a jazz trumpeter who falls in love with the seductive spirit of a murdered young woman, Wanda(Maria Rohm)at the hands of three bourgeoisie types, Ahmed(Klaus Kinski), Kapp(Dennis Price), and Olga(Margaret Lee)who enjoy mixing violence with kink. Jimmy Logan(James Darren) discovers Wanda's body floating in the ocean becoming instantly attracted to her. Jimmy is a troubled soul who has found displeasure with his trumpet, even considering quiting his occupation as a musician. The desire and passion is missing, that is until a spark ignites when he finds a woman eerily similar to the dead woman he discovered. That is indeed the spirit of Wanda, returned to get revenge against those who left her for dead after their game of rough sex goes awry. Or, is anything we see even real, or just a series of images and stories flashing through the dreams of Jimmy, concocted at the moment of his death? What we do know is that Jimmy's lover, singer Rita(Barbara McNair)realizes that her man is falling for another, and, despite her pleas for his love, knows their relationship may never recover. Like those Wanda returns to seek revenge, Jimmy is yet another casualty, desiring something he can not obtain.That's the best way I have to describe this film which uses the image of the lovely Maria Rohm, often partially naked, breasts uncovered, underneath a fur coat and wig, as a haunting tool towards those who long to embrace her. Director Jesús Franco admits that his main objective was to tell a story about a troubled musician and his love life with a lover of a different race. Producers pushed for the whole "Venus in Furs" idea. He also mentions in an interview that it wasn't his idea to edit those repeated images of Wanda to her victims, over and over, repeating throughout, calling it "gratuituous." I think he does accomplish the idea that this trumpeter is at the moment of death reliving past occurrences and possible desires that were just out of reach. Every kind of visual trick is used, color schemes, slow-motion, penetrating zooms into faces, disorienting picture techniques as Jimmy runs for Wanda, and some very unusual uses of the dark and light. The settings for the film(..Jesús Franco reflects that he shot in several places like Rome and Istanbul)are stunning and bring an atmosphere needed for such an erotic fantasy. The beach front is especially put to striking use. Attractive leads and an overwhelming melancholy and exuberant spirit in equal measure. I felt Jesús Franco achieves his goal regarding the musician and his difficulty separating the real from unreal by placing him within such a setting as the lively nature of Rio, a carnival with a people embarking on a journey of joy as he struggles to find his way. As odd as the death sequences were, they made sense to me this time around unlike my previous viewing..a desire for such an unattainable beauty can haunt you to the point of death.