Les nuits brûlantes de Linda (1975) watch online HD

But Who Raped Linda? (1973)

*** (out of 4)

Yet another bizarre one from director Jess Franco. This one involves a woman (Alice Arno) in desperate need of money who accepts a job from an eccentric man (Paul Muller). The main job is to take care of his strange daughter including one (Lina Romay) who just happens to be a nymphomaniac. As with many of Franco's films, this here is out there in at least two different versions. The first one I watched was the French version, which is known under many titles including LES NUITS BRULANTES DE LINDA. Having seen this version first I thought it was a good little film that managed to be quite disturbing at times and the hardcore scenes, while very ugly shot, just added to the rather disturbing nature of the film. A couple years after watching this version I caught up with an English dubbed version of the director's cut, under the title BUT WHO RAPED LINDA? This version here is certainly the better of the two, although if you're not a fan of Franco then this certainly isn't going to make you change your mind. I thought both version of the film were good but the softcore one works the best because it does add a little more atmosphere and I also thought the performances managed to be somewhat better. I say somewhat better because we don't get any of the hardcore scenes, which include one performance by Romay but the others just seem to be from a completely different movie. I thought Arno, Romay and Muller were all good in their parts and of course there's just something special about them in a Franco picture. Seeing the director's cut also allows one to view the film in its original aspect ratio, which is another plus. At just 80-minutes the film is thankfully short enough to where it doesn't wear out its welcome. Fans of the director should enjoy either version.

Even as a big fan of Franco's films, this one is up there as one of his most drab. Made in a year when he worked on 11 films, some incomplete, it unfortunately really shows. There is some atmospheric lighting and nice sets with gorgeous furnishing, but these are typically not used to their full potential and lack no real substance. The story is near incomprehensible, often interlaced with incessant shots of someone sitting on a bed, walking through a hallway, and then awkwardly zoomed-in softcore. For an 80 minute film, it feels like it goes on forever, skimping on the erotica and atmosphere, and ultimately ending with no real payoff.

On the plus side, Lina Romay looks as fine as ever, showcasing some very attractive outfits throughout, often though only for a minute or two. Only one scene in the film is particularly worth viewing, that of a rather infamously seductive scene involving Lina and a banana.

In all, this should be near the bottom of your list when checking out Franco's films, if not maybe skipping it altogether and just viewing the standout Lina scene if you're a fan. As much as it pains me to say it, but this is a highly disappointing film that I was really looking forward to.

Note: this viewer watched the English-dubbed, soft core version. This cut will likely not be to the tastes of all exploitation lovers, as it's quite leisurely paced and perhaps too artfully done. That said, it's an interesting mix of elements ranging from incest to lesbianism to sadism to outright murder. Certainly, as a vehicle for the charms (physical and otherwise) of its luscious female cast, it delivers the goods. Viewers will note that there is an abundance of both male and female nudity. The kills may be highly unsatisfying considering that despite the brutality on display, there's very little gore to be seen. But overall this is just atmospheric, haunting, and erotic enough to be an okay view.

The appealing Alice Arno plays Marie-France Bertrand, who's in desperate need of a job and agrees to work as secretary for a strange, kinky family that lives in an oceanside estate with a houseboy (Pierre Taylou) who grunts rather than speaks. The father, Paul (Paul Muller) warns Marie-France that his offspring are dangerous, and soon enough we learn what kinds of things that they get up to. Meanwhile, an inspector (Angelo Bassi) and photojournalist (Catherine Lafferiere) add some comedy relief by spying on this depraved bunch of people.

Director Jess Franco, who also has a cameo as Dr. Roberts, gets an effective performance out of his longtime muse Lina Romay, who's stunning as the seductive Olivia. She has a scene with a banana that's memorable. Ms. Romay is the main reason to watch, although all the ladies are attractive. Veronica Llimera is also enticing as the invalid Linda. For less patient viewers, this cut of the movie may seem longer than it is, even at only 81 minutes, but the titillation factor remains intact. However, the ending is just too anticlimactic.

Enhanced by a lovely music score by Daniel White.

Seven out of 10.

… otherwise known as 'But Who Raped Linda', this Jess Franco directed film is a joy. If you like Franco, that is. Marie-France (Alice Arno) accepts a job at the estate of an eccentric family. There, she meets Olivia Steiner (Lina Romay, who I don't think has ever looked more sultry), hunky dim-witted houseboy Abdul (Pierre Taylou), father Paul Steiner (Paul Muller) and invalid Linda (Verónica Llimerá). Their estate is situated amidst some truly breath-taking locations and surroundings and as ever, Franco takes full advantage of this, making this a most attractive production.

Of course the plot meanders, and many scenes play without dialogue. Of course the camera takes on a life of its own and explores obscure bits of the scenery and location, zooming and soft-focusing. Of course there are, as the title would suggest, plenty of skin and sex scenes, but Franco holds back from the really intrusive shots he sometimes finds it impossible to resist. So what we have here are scenes that have an erotic charge, rather than having to balk at their explicitness. This helps the mood remain titillating rather than 'full on', and enhances, rather than hinders, the overall dream-like atmosphere. There is no-one, no-one at all, that east a banana like Lina Romay.

Great attention is paid to Lina's eyes. Often the camera will linger of a close-up of her magnificent stare – the top half of her face will fill the screen. In fact, there is much focus on the eyes of other cast members too.

To break, or balance out, the mood, we're also asked to tolerate the antics of a pair of comedy journalists who are observing the family and their increasingly dark business ("What? You're crazy! Ooh, my back," is dubbed dialogue unlikely to have anyone rolling in the aisles). Truth is, alongside the restraint shown with sex, there is a disappointing lack of virtually any gore.

The other 'disappointment' (I use quotation marks because Franco's films are so devoid of rules that anyone else's disappointment is entirely due to their own expectations – nothing to do with the director) is the finale which could well be considered anti-climactic. But then, to close the film in a way that makes any kind of sense of the ongoing dreamscape that makes up the running time would never do it justice.