Four pirates(..labeled "wreckers" for they draw ships with light crashing into the shore to pillage them)ruthlessly rape and assault two blond young women as they walk to shore, appearing from the darkness in nothing but gowns. Soon the Captain(John Rico), already insane, is haunted by ghostly apparitions of those two girls they left for dead on the shore. Yet, somehow, the girls survive fending off yet another proposed attack by the pirates, making their way to the "haunted ruins" which holds a demonic presence, imprisoned by two guardians who can give them the power they seek in weakness needed for revenge.
I really enjoyed this one, even if I was often left with my jaw open wondering what the hell was going on. I couldn't help but snicker when the twins make to the haunted ruins and are greeted by the female clown. Many would probably throw their hands up at that, but I couldn't help but love such an audacious move by Rollin to throw a modern image inside a film representing pirates. I loved the brothel pub hybrid with patrons fondling the gals as our clairvoyant Madam plays the piano when she isn't foretelling doom. I like how over-the-top the pirates are, even Tina(..let me stop for a moment and gain my composure)who Rollin films in nearly every scene naked, delighting in her devilish ways. Take, for instance, the Captain who lifts his mug to drink with beer spilling out all over himself, or Bosco(Willy Braque), always morose until he begins to trash the fisherman's bar and brothel.The film is Joelle Coeur for me. There's one image I'll always have to summon every now and then. Rollin's camera eyeballs a naked Coeur with her arms stretched to the heavens after their conquest and corruption of the innocence of two girls who had just lost everything. The camera slowly pulls away as she stands, enjoying every minute of the atrocities committed. How Coeur can't help herself as her men ravage their bodies, tearing their already shredded gowns, in a state of ecstasy. She craves this type of cruel activity, embellishes the evil they partake in. The wrecking is child's play compared to the rape and destruction of innocence.
I liked how Rollin gets his skeleton and bat in the film, by using them as "decoration" in the brothel-pub. Oh, and I loved that winged creature statue in the brothel-pub as well(..I believe Rollin shoots one of the girl's apparitions next to it when they haunt the Captain).The ruins left me in a state of bliss, particularly how Rollin shoots the female clown guiding the girls to the "crypt-watcher"(..he looks like a Russian czar, or something)down those massive steps. And, when the girls remove their shirts making their way to the prisoner's cell to release him.. One of my favorite techniques established by Rollin is how he follows his female beauties, either naked or clothed under a gown or shirt(..just long enough to cover their crotch), holding a candle to guide themselves, as they make their way to a specific destination.I also liked how the final sequence ends with water engulfing the main characters. Oh, and my favorite scene, besides the bedroom sequence where the Captain is fondling a bird he'd later rip into as Coeur slowly gets naked, is a certain character's death as a piano plays on it's own.
I really enjoyed this one, even if I was often left with my jaw open wondering what the hell was going on. I couldn't help but snicker when the twins make to the haunted ruins and are greeted by the female clown. Many would probably throw their hands up at that, but I couldn't help but love such an audacious move by Rollin to throw a modern image inside a film representing pirates. I loved the brothel pub hybrid with patrons fondling the gals as our clairvoyant Madam plays the piano when she isn't foretelling doom. I like how over-the-top the pirates are, even Tina(..let me stop for a moment and gain my composure)who Rollin films in nearly every scene naked, delighting in her devilish ways. Take, for instance, the Captain who lifts his mug to drink with beer spilling out all over himself, or Bosco(Willy Braque), always morose until he begins to trash the fisherman's bar and brothel.The film is Joelle Coeur for me. There's one image I'll always have to summon every now and then. Rollin's camera eyeballs a naked Coeur with her arms stretched to the heavens after their conquest and corruption of the innocence of two girls who had just lost everything. The camera slowly pulls away as she stands, enjoying every minute of the atrocities committed. How Coeur can't help herself as her men ravage their bodies, tearing their already shredded gowns, in a state of ecstasy. She craves this type of cruel activity, embellishes the evil they partake in. The wrecking is child's play compared to the rape and destruction of innocence.
I liked how Rollin gets his skeleton and bat in the film, by using them as "decoration" in the brothel-pub. Oh, and I loved that winged creature statue in the brothel-pub as well(..I believe Rollin shoots one of the girl's apparitions next to it when they haunt the Captain).The ruins left me in a state of bliss, particularly how Rollin shoots the female clown guiding the girls to the "crypt-watcher"(..he looks like a Russian czar, or something)down those massive steps. And, when the girls remove their shirts making their way to the prisoner's cell to release him.. One of my favorite techniques established by Rollin is how he follows his female beauties, either naked or clothed under a gown or shirt(..just long enough to cover their crotch), holding a candle to guide themselves, as they make their way to a specific destination.I also liked how the final sequence ends with water engulfing the main characters. Oh, and my favorite scene, besides the bedroom sequence where the Captain is fondling a bird he'd later rip into as Coeur slowly gets naked, is a certain character's death as a piano plays on it's own.