This is a successful, if not brilliant, Gothic entry which marked the debut of director Jess Franco, that prolific Spaniard who would go on to film all manner of sleaze and depravity within the next thirty years. Desperately hoping to cash in on the success of the Hammer films, as well as the various Italian Gothic chillers of the time, THE AWFUL DR. ORLOFF models itself on these films, but truth be told, Franco is no Bava or Fisher. While all the trappings are right, there are none of the odd camera angles and stylistic touches which made contemporary directors like Freda and Margheriti such masters of their art. Throughout this film the camera is fairly static, although thankfully there are none of those annoying zooms of which Franco became so fond of in later years.
The plot itself seems merely to be a retread of the 1959 French classic, EYES WITHOUT A FACE, except with the added sleaze trappings you would expect from Franco. Actually, the sleaze here is very tame, but Franco still finds ways to incorporate all manner of exotic dancing, chained females, and women in tight-fitting clothes into his film. The black and white photography works in this film's favour, highlighting some spooky buildings and drawing out the shadows in darkened streets, the starkness of which would have been lost in colour. Unfortunately, the low budget is rather obvious too, with most of the action being consigned to office sets and little in the way of scope - all of the scenes are character-focused, without any of the scene-setting that Hammer might have inserted by having, say, mountains or landscapes in the background. Some of the incident in this film is also too dark, making it hard to see the events playing out on screen.
Despite some poor dubbing, the acting, while not brilliant, works here, chiefly with Howard Vernon's villainous turn. Vernon uses his bizarre, cruel features to create a truly loathsome mad scientist, unflinchingly murdering innocent girls in the name of science. Vernon later became a Franco regular, appearing in many of his films such as THE BLOODY JUDGE and FACELESS. Ricardo Valle has the role of the deformed sidekick, complete with dodgy-looking bug eyes, and manages to evoke a grain or two of sympathy for his wretched character. Quite surprising for a character who is both blind and mute. The ladies are all very glamorous-looking, but only the lead actress possesses any real talent.
A police investigation manages to slow events down to a crawl, but there are still plenty of memorable images which this film conjures up. The opening has an unsuspecting victim opening her wardrobe to find the bug-eyed manservant jumping out at her, while other scenes evoke Jack the Ripper with the doctor, replete in cape and top hat, prowling the gloomy streets looking for more victims. Sadly, despite being by all accounts a rather tame film, the film is trimmed of all surgical scenes in the UK so I am unable to give an account of these. Most of the action is saved for the finale, as is the case with these films, and it doesn't disappoint. Altogether, this is very much an average affair which goes through the motions but is too happy to feed off other classics which have gone before it.
The plot itself seems merely to be a retread of the 1959 French classic, EYES WITHOUT A FACE, except with the added sleaze trappings you would expect from Franco. Actually, the sleaze here is very tame, but Franco still finds ways to incorporate all manner of exotic dancing, chained females, and women in tight-fitting clothes into his film. The black and white photography works in this film's favour, highlighting some spooky buildings and drawing out the shadows in darkened streets, the starkness of which would have been lost in colour. Unfortunately, the low budget is rather obvious too, with most of the action being consigned to office sets and little in the way of scope - all of the scenes are character-focused, without any of the scene-setting that Hammer might have inserted by having, say, mountains or landscapes in the background. Some of the incident in this film is also too dark, making it hard to see the events playing out on screen.
Despite some poor dubbing, the acting, while not brilliant, works here, chiefly with Howard Vernon's villainous turn. Vernon uses his bizarre, cruel features to create a truly loathsome mad scientist, unflinchingly murdering innocent girls in the name of science. Vernon later became a Franco regular, appearing in many of his films such as THE BLOODY JUDGE and FACELESS. Ricardo Valle has the role of the deformed sidekick, complete with dodgy-looking bug eyes, and manages to evoke a grain or two of sympathy for his wretched character. Quite surprising for a character who is both blind and mute. The ladies are all very glamorous-looking, but only the lead actress possesses any real talent.
A police investigation manages to slow events down to a crawl, but there are still plenty of memorable images which this film conjures up. The opening has an unsuspecting victim opening her wardrobe to find the bug-eyed manservant jumping out at her, while other scenes evoke Jack the Ripper with the doctor, replete in cape and top hat, prowling the gloomy streets looking for more victims. Sadly, despite being by all accounts a rather tame film, the film is trimmed of all surgical scenes in the UK so I am unable to give an account of these. Most of the action is saved for the finale, as is the case with these films, and it doesn't disappoint. Altogether, this is very much an average affair which goes through the motions but is too happy to feed off other classics which have gone before it.