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Down Town

Down Town

Down Town

For once I was glad that the sappy old fart was caught with his pants down and the girls got away in the end. Usually in these flicks the writer put in some outlandish twist where the numbskull saves the day or in this case his keester from going to the slammer. Not only was he down on his luck, but he also fell for the oldest trick in the book. He allowed the little head to do the thinking and the two female lovers pulled a fast one on the old fool who should have stuck with the Red Head who was his age. Coodles to the director and the writer for doing something other than the SOS different day that has become the normal fare in motion pictures.

Down Town (1975), directed by the acclaimed Jesús Franco, is a gritty and sensual noir thriller that delves into the shadowy depths of a bustling metropolis. While not Franco's most refined work, the film showcases moments of brilliance and a tangible ambiance that sets it apart from conventional exploitation cinema. The film's strengths lie in its moody cinematography and Franco's skill in capturing the neon-lit allure of the city's nightlife. The seedy nightclubs and dingy alleyways come alive with a palpable sense of grit and menace, drawing the viewer into the film's noir-esque world. Franco's frequent collaborator, the enchanting Lina Romay, delivers a standout performance as one of the film's sultry nightclub dancers. Her on-screen presence is captivating, and her scenes crackle with a raw sensuality that harmonizes perfectly with the film's seedy atmosphere. Nevertheless, the film's narrative can be intricate and meandering at times, with subplots and characters introduced only to be abandoned or underdeveloped. The pacing is also hindered by uneven editing, with some scenes lingering unnecessarily while others feel rushed and truncated. Despite these flaws, Down Town persists as an intriguing and atmospheric entry in Franco's extensive filmography. Although not a masterpiece, it offers a glimpse into the director's singular vision and his ability to create a gritty, noir-tinged world that captivates and unsettles in equal measure.

I'd suggest this is for Jess Franco completists only. Or perhaps I am simply not a fan of his 'comedy' films. This is a romp, really, a good excuse to show off Lina Romay in a state of undress with some wildly intimate, almost gynaecological shots that are in no way erotic, just invasive. Director Jess Franco also stars in Al Pereira, a down-on-his-luck detective. He plays this rare starring role well; the character is often inebriated, and he certainly looks that way. He also indulges in some of the many sex romps that occur, often with real-life partner Romay, playing Cynthia, and also with Lola (Martine Stedil). These women are strippers and con artists, and their slender story is told us in rapid-fire fashion thanks to Christine Lembach's chatty script. On the subject of Romay and Stedil: should I justify the fact that, despite the unflattering directorial obsessions with their genitalia, I think they look stunning throughout? This is one of the most exploitative of exploitation Franco I have seen, and as such, it is impossible not to comment on the players. Of other regulars, it is good to see Monica Swinn and Paul Muller albeit in subsidiary roles. The relentless musical jazzy dirge accompanies most scenes. Like in most films from this director, it seems wholly inappropriate for the 'action', but unusually, Walter Baumgartner's contribution is entirely unmemorable. Sadly, this is the weakest of all Franco/Erwin C. Dietrich's collaborations. Al Pireira would return to Jess's stable at the very end of his career (and life), played by long term collaborator Antonio Mayans.

Private eye Pereira agrees to assist a lady in distress. She knows her husband has a new lover, but needs photos to prove it and get divorced. The photos are however discovered later on a corpse, and Pereira is unexpectedly involved in a case of blackmail and murder - as the main suspect. Director Jess Franco plays Pereira himself in "Downtown" and with wonderful irony due to the off-monologue where he describes himself as a smart guy who cannot be fooled - whereas in the movie, it happens to him constantly. The voice in the German soundtrack (this is a Swiss production) belongs to a voice actor who also dubbed Ernie in Sesamy Street. Great fun early 70s sleaze with gratuitous nudity, but a remarkably good script compared to many other works from Franco's hand.

It's always amusing to watch Jess Franco convert the elements of any film genre into a confused, sleazy spectacle, and Downtown: Die Nackten Puppen der Underwelt is no exception. As if the genre of film noir wasn't already replete with clichéd scenarios, here comes Jess Franco's interpretation, a furiously banal, incredibly sloppy, crotch-shot-filled piece of cinematic madness that's overall worth watching. Downtown tells the story of a private detective and two con-women strippers, one of whom sings hilarious showtunes in English, even though it's clear she doesn't understand a word of what she's saying. It stars Franco, no less, in the main role, and features much of the cast of other Franco/Dietrich collaborations, including the scrumptious Martine Stedil and of course, Lina Romay. The latter two partake in ample * squirming, in an admirable attempt to portray sexual activity. The story of Downtown doesn't so much unfold before your eyes as it is babbled at you in rapid-fire, bullet-speed dubbed German narration and dialog spoken by a bunch of naked non-German-speaking actors. There's much talk about what's taking place and why, but not much action to depict it on screen, with most of the non-narrated footage devoted to the aforementioned * squirming and occasional night club music acts. However, to Franco's credit, Downtown's storyline, though confusing and at times insane, is more developed than in most of his other flicks. I recommend Downtown over other Franco/Dietrich features like Sexy Sisters or Rolls-Royce Baby, but definitely not over Barbed Wire Dolls.