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| JOSE MARIA CUNILLES DVD RELEASES; by Suevia Films (Spain) | |
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| Tweet Topic Started: May 19 2007, 02:46 PM (3,855 Views) | |
| Nzoog Wahlrfhehen | Sep 19 2007, 12:20 AM Post #11 |
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Well, I apologise. If Reguant (now a successful director of stage musicals; his production of GREASE has been running for long in Barcelona) claims authorship of a film credited to his usual pseudonym, then I guess it must be true. And yes, I have now just read the interview on the internet in which he mentions an anecdote about a horse. I had drawn this piece of information from the writings of Freixas and Bassa and was seemingly mistaken in taking them on trust. I initially assumed that SUECA BISEXUAL (which I haven't seen yet) was the work of Reguant; then I read that on this occasion, the "Richard Vogue" pseudonym corresponded to Bianchi. Now it turns out it was Reguant after all. And the writer "J.M. Goldsmith" seems to be Cunillés himself (He had used a similar pseudonym for DEPRAVACIÓN, a morbid sex film apparently directed by Cunillés's wife Isabel Mulá) A question for A.N. : The following address contains some very serious allegations: http://cine-filia1.iespana.es/cine-filia1/...elanea%2011.htm These rumours, true or false, point to Reguant as the true director of many films credited to Ignacio F. Iquino and Enrique Guevara, for whom he did certainly work as a screenwriter and (in the case of Guevara) an actor. It is furthermore said that Reguant directed or ghost-directed over 100 films within the Spanish "S" genre, which I find improbable, particularly given the fact that the cycle (which must have produced some 140 films or so) lasted a mere half-decade. Do you know anything about this? The internet interview at least points out to some reality in this rumour. The world of Spanish "S" cinema (and sex cinema in general) seems to abound in mis-information and rumour. On the internet at least, Carlos Aured's APOCALIPSIS SEXUAL is attributed to Sergio Bergonzelli as co-director! There may be some kind of basis to the Bianchi rumour: Reguant says he was surprised to see that he was being credited on some videos as "Willy Regan".This sounds like the pseudonym of Sergio Garrone. Maybe SUECA BISEXUAL has been credited to Bianchi in some areas. Could it be that Italian distributors were out to present films they had imported as homegrown for tax benefits? |
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| A.N. | Sep 19 2007, 04:52 AM Post #12 |
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I don't know if "J.M.Goldsmith" was a pseudonym for Cunillés (maybe yes: J.M.=José Maria...), but please note that in the Spanish version of SUECA the music of this film is credited to the same "J.M.Goldsmith". Perhaps "Goldsmith" and similar names were "passe-partout" pseudonyms used at Film Dara... By the way, in the Italian version (in the title-credits the direction is signed "Richard Vogue") the screenplay is credited to two famed Italian screenwriters. We interviewed one of them (the only surviving one) for a forthcoming book of mine, and he said that he knows nothing about that screenplay... I think the wrong reference to Bianchi is originated from a confusion with another hardcore movie which stars actress Marina Frajese and which includes similar sequences of sex with a horse: this second movie, a French-Italian coproduction, is credited to Bianchi by some sources (I don't believe it was directed by him). I heard some rumors suggesting that Ignacio Iquino was not the real director of some of the movies credited to him. Maybe we will never know. But for some of those movies there are some witnesses (especially actors or actresses). So, just to make an example, we know for sure that the very interesting LA BASURA ESTA EN EL ATICO was really directed by Iquino himself. As for APOCALIPSIS SEXUAL, Bergonzelli (interviewed a few years before his death) confirmed that he was the director of that movie !! But he also said he had a little role in it as an actor, and unfortunately in all of the three different existing versions of APOCALIPSIS (the most complete version is the French one) Bergonzelli does not appear. This is another unsolvable mystery... Willy Regan was another pseudonym used by more than one director. In Italy there are a couple of "w.i.p." movies signed "Willy Regan" which were actually directed by another Italian filmaker. That's all. Please are you able to post here the exact words with which Freixas and Bassa refer to Bianchi in connection to SUECA? Thanks. |
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| Nzoog Wahlrfhehen | Sep 19 2007, 01:34 PM Post #13 |
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Here's a translated quote from the "Diccionario personal y transferible de directores del cine español",page 215, footnote 106 (although I remember having seen this datum in other Spanish places): "After some time, he [Reguant] took the floor as director with another chintzy softcore film, NO ME TOQUES EL PITO, QUE ME IRRITO (1983), under the assumed name of Richard Vogue, a moniker also used for SUECA BISEXUAL NECESITA SEMENTAL(1982) , here the cover for the veteran Italian filmmaker Andrea Bianchi." Regarding "Goldsmith", the name "J.Goldsmith", the writer of DEPRAVACIÓN, this has been identified by Carlos Aguilar as Cunillés himself. It might have been Cunillés as "J.M. Goldsmith" who wrote the script while some sources credited the two Italians, possibly as part of a defrauding strategy (very typical in Europe, used in many westerns). And the music may have been library music which Cunillés himself selected. As for Iquino, yes: LA BASURA ESTÁ EN EL ÁTICO is an elegantly sinister film, and the transvestite actor seems to recall that it was Iquino who made it. As for the others, I don't know, maybe EMANUELLE Y CAROL (script co-credited to "Richard H. Bogue") was one of Reguant's films as a ghost. Maybe he directed all those Guevara films he wrote as Vogue, starring Raquel Evans (reported to be Guevara's sister, which I've always found odd). I raised this question in a Spanish forum and one of the posters, Salvador Sainz, states that people he knew actually saw Iquino and Guevara on the set of films credited to them. So this is all very mysterious. There are likewise rumours that Justo Pastor, a much-ridiculed Madrid-based director (and girlie mag writer) had ghosts, but the online statements of another tranvestite actor seem to indicate he was the director of at least one of his films. I'd like to add that the actor-writer-director Ricardo Palacios told Carlos Aguilar that Iquino once offred him a job as a ghost director, which he turned down. Angel Comas's book on Iquino makes no mention, as far as I can remember, of ghosts. I don't know about the Bergonzelli affair. Aured in interviews speaks of the film as his own and just mentions that Italian distributors forced him to add hardcore scenes, which were made with one male double (for Ricardo Diaz? I've only seen the soft version). I don't know Bergonzelli's face. In any case, there are hardly any supporting actors in that film: the bodyguards, the cops, the father (Alfonso Castizo, I think). He could have been one of the barely seen cops (barely seen if I remember right). What I find amazing is that one of the credited writers of SUECA BISEXUAL should not even know about the film, as if others had appropriated his identity, which could well be the case. By the way, what book are you writing, if I'm not being indiscreet? Sounds interesting. |
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| A.N. | Sep 19 2007, 03:53 PM Post #14 |
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Thank you for your interesting post. The "defrauding strategy", as you say, was very common indeed in Italy, with the goal to release imported (or coproduced) films as homegrown products for tax benefits. But this, as it seems, was not the case for SUECA, a film released in Italy (some years after its shooting) as a Spanish production, with the direction credited to "Richard Vogue". I am quite sure that this film was actually directed by Reguant, and that Andrea Bianchi had nothing to do with it. Bergonzelli claimed that his character in APOCALIPSIS was a doctor, but there are no doctors in the film... And yes, I know the Aured interview (by Lipinski). In any case, Bergonzelli was certainly involved in the production (he enlisted Ajita Wilson in the project, as he had done for an earlier Greek movie). Is the man delivering the money played by Alfonso Castizo? Are you sure? My book is about the birth and golden age (1979-1984) of XXX Italian cinema, and I think it will be published next year. |
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| Nzoog Wahlrfhehen | Sep 19 2007, 08:49 PM Post #15 |
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Such tax-related operations were also very common in Spain. Lots of Spaghetti Westerns directed by Italians were credited to León Klimowsky, an Argentinian with the Spanish nationality. In fact, one Peter Lee Lawrence vehicle would seem to be either Klimowsky's or Bergonzelli's. All I could tell was that Klimowsky had an uncredited role in the film, as a land surveyor. As for the Aured-Bergonzelli, this is very confusing. Castizo is credited in the cast given by the Spanish Ministry of Culture website. I can't recall now if he was credited in the film itself (The website also credited Aured, who I was unable to spot anywhere). I recall Castizo as a supporting actor with a long, craggy face and thought that the man with the money was the only possible role he would have played. But no, I can't say I'm sure. On the other hand, maybe Bergonzelli was mistaking it for another film but he wasn't that prolific (some 30 films) and surely he would have remembered them individually. And, if there was some skullduggery going on, I can't think of a reason for either man to conceal the truth after so many years. And what would they get out of lying? As for the Bianchi-Reguant controversy, all I can say is that I'm now convinced that it was Reguant. In the interview I've read he wasn't asked to talk about the film. He just cited it on his own accord when asked about a particularly difficult scene. The site I quoted further above indicates, accurately or otherwise, that Reguant may jave used the "Henry Soteh" name (usually corresponding to composer/ accountant Enrique Escobar). Does this mean it was Reguant who composed those synthsiser scores of the Iquino sex comedies? I simply don't know. And Reguant, in the interview I've read, seems adamant to give details. The world of softcore is full of these mysteries, it would seem. Another man whose authorship is being questioned is Julio Pérez Tabernero, a former actor who supposedly directed a number of films. At least two sources question this, one of them being the actor Antonio Mayans, who recalls that in CANNIBAL TERROR, he was not the man directing the film. It seems that these people would reach agreements with the directors, paying them rather well for deals in which the producer would eventually get the director's residuals. And good luck with the book! Sounds like you had to work hard on it. Additionally, I would like to add some details of the Cunillés DVDs. The two EL LUTE films come separately or in one pack with a third DVD containing extras with documentaries and interviews with the director, Vicente Aranda, and stars, as well as with the real-life El Lute himself. http://www.zonadvd.com/modules.php?name=Ne...ticle&sid=11912 Other films included in the collection that have yet to be released are the following: Two films directed by Isabel Mulá, (Mrs Cunillés). DEPRAVACIÓN (depravity) (1983), written by Cunillés. A morbid S/M softcore drama about a writer, (Robert Gras) who subjects his wife (the late Concha Valero) to sexual experiments over a long period of time, causing her to take her life. A year later, living in his mistress's villa, he chances upon a vivacious young woman (also Valero) who is identical to his dead wife. Obsessed with the girl, the troubled writer, helped by his submissive mistress (Françoise Perrot), plots to bring the girl into the villa so that he can use her to "recreate" the dead woman. Unless the films attributed to Lina Romay are truly hers, this dour film may be the only Spanish softcore feature to be directed by a woman. This may or may not explain the ending, which is like a reversal of VERTIGO. Ultimately, the film is better helped by Valero's performance(s) and Juan Gelpí's photography than by Mulá's direction or Cunillés's ponderous writing, let alone Gras's stolid acting in the lead. Reportedly exists in a hardcore version for the French co-producers, presumably involving Perrot. LOS NUEVOS CURANDEROS (the new quacks) (1983), written by Mulá and the actress Josele Román, who also appears in the film. I have little information on this film, which was only seen by an approximate 17,000 people in its day. It is a comedy, as suggested by its cast, (Carlos Velat, "Pipper", Román...), and is reported to be in the vein of Berlanga. The only review known to me is negative and comments on the ugliness of the film's look and art direction, considering this unworthy of such a veteran script supervisor. Synopsis by Carlos Aguilar: "A modern young couple, discouraged at the opportunities given them in the city, set up a quack practice in a village. To their surprise, they enjoy one success after the other". Mulá was a script supervisor for Berlanga, Castellari, Corbucci, Jaime de Armiñán, Richard Fleischer, Bergonzelli, Larraz and Aranda, among many others. She also performed the same function in MÁTALO. She later became the assistant producer or executive producer of her husband's films. International productions: HUIDA AL SUR/PLEIN SUD (1981), directed by Luc Béraud. Co-written by Cunillés. A French-Spanish co-production with the late Patrick Dewaere, Clio Goldsmith, Jeanne Moreau, Guy Marchand, Pierre Dux and José Luis López Vázquez. The plot has a conservative politician's mistress (Goldsmith) eloping with an intellectual (Dewaere) and going to Barcelona. Lots of Catalan character actors familiar from Juan Bosch or Ignacio Iquino (Alejo del Peral, Juan Velilla, Josep Lluis Fonoll, Asunción Vitoria). UN SOLTERO CON MUCHA CUERDA/ALL TIED UP(1993), a US-Spanish co-production co-written by Isabel Mulá, directed by John Mark Robinson and starring Zach Galligan and Teri Hatcher. It went straight to video in the USA, while in Spain, to judge from its scant theatrical attendance figures, it presumably went through a token theatrical distribution prior to being released onto the video market that was its true destination. It's a comedy about a swinging bachelor who is unfaithful to his girlfriend, causing the latter to take her revenge by tying him up, so that he can be teased by her and her two flatmates. Galligan apparently spends much of the running time tied up. The Carlos Aguilar film guide describes it as "emphatically tedious". The odd Spanish actor (Abel Folk) in a supporting role. Late Spaghetti Westerns: SCALPS and WHITE APACHE, both eighties films by Bruno Mattei and LA CIUDAD MALDITA, by Juan Bosch, a Western adaptation of RED HARVEST. Others: An obscure item named TRIO, which presumably corresponds to ASÍ COMO HABÍAN SIDO (the way they were) (1987), directed by Andrés Linares. With Juan Diego, Antonio Banderas, Massimo Ghini, Amparo Climent, Nina Van Pallandt and the late Luis Ciges. Carlos Aguilar: "A famous international pianist returns to Spain to meet two old friends from his student days. A bad film that knew a barely fleeting commercial existence". The attendance figure of about 15,000 people would seem to confirm this. Both Linares and his co-writer Joaquim Jordá are best known as documentary filmmakers. Linares is best known for "Dolores", a feature documentary on the famous Spanish Communist leader "La Pasionaria". HISTORIA DE EVA/ PICCOLE LABBRA(1978), directed by Mimmo Cattarinich, with Pierre Clementi, Katya Berger (William's daughter) and José Luis López Vázquez. About a man's infatuation with a minor (Berger). Carlos Aguilar: "Boring and arty". LOS FARSANTES DEL AMOR (1972) (translation: The liars of love), directed by Juan Xiol Marchal. With Lynn Endersson, a Frenchwoman who later became something of a doyenne among Spanish (or Spanish-based) softcore actresses. A drama about a woman revisiting an old flame. Was seen by half a million Spaniards in its day, which, given the population of about 35,000,000 (?) at the time is not bad, particularly for so little-known a film. SEÑORA CASADA NECESITA JOVEN BIEN DOTADO (1977) (translation: married woman seeks well-endowed young male). A softcore re-edit of the above, initially used for the foreign market, then premiered and certified in Spain as another film. ¡EN QUÉ LÍO ME HAN METIDO!, (What a mess they've gotten me into!). Softcore comedy directed by Enrique Guevara. With Carlos Velat (a Catalan comedy actor who appeared in several such films) and Berta Cabré, a likewise Catalan softcore actress who occasionally acted as "Berta Singerman" (like the Russian-Argentinian poetry reciter), until she was banned from doing so. EL CERTIFICADO (the certificate), (1968), directed by Vicente Lluch, starring well-known stage-actors Nuria Espert and Adolfo Marsillach. A farce about a woman who has a certificate to prove her virginity. VIRUS/ APOCALIPSIS CANIBAL (1980). Bruno Mattei. Known as ZOMBIE CREEPING FLESH in the UK and HELL OF THE LIVING DEAD in the US. Cannibal zombie film. Music by Goblin, story treatment by Cunillés himself. EL FIN DE LA INOCENCIA (the end of innocence) (1976), directed by José María Larraz. With the great Spanish comedian "Saza" and Paca Gabaldón. Would seem to be a sex comedy-drama. Larraz's first Spanish film after returning from the UK. NO ME TOQUES EL PITO, QUE ME IRRITO (Don't touch my dick, it's irritating) (1983). Directed by Ricard Reguant. A sex comedy, apparently the last in the Spanish softcore film cycle to be produced (but not to be released, two Jess Franco softcores made earlier were released in 1984, concurrently with the first XXX showings in Spain). Stars Carlos Velat and the burlesque comic "Pipper", plus some prominent girls from the Catalan softcore film: Carla Dey, the late Andrea Albani, Diana Conca, Emma Quer... As for the aforementioned (in this thread) EN BUSCA DEL POLVO PERDIDO (raiders of the lost lay), well, they certainly did manage to assemble all the girls into one film. The collection, however unwittingly, manages to have a somewhat elegiac tone to it. Andrea Albani died tragically way back in 1988, but some other recurring figures in these films have just died: Agustín González (who didn't look at all like he was about to die of natural causes), Concha Valero and, of course, Bruno Mattei. |
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| A.N. | Sep 20 2007, 03:15 AM Post #16 |
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I have two questions for you, thanking you very much in advance for your kindness if you'll take the time to answer them: 1) Do you know if a movie directed by J.L.Romero Marchent, DESPIDO IMPROCEDENTE, is to be found anywhere? I think it was released on video in Spain, but till now I have not been able to locate a copy. 2) Do you know how to have access to the dates of the Spanish censor's visa for a few movies of the early 80s? Grazie. Ciao. |
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| Nzoog Wahlrfhehen | Sep 20 2007, 11:55 AM Post #17 |
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Regarding Spanish censor visas, I don't know. They'd certainly be found in Madrid. As for Barcelona, where I'm based, I'd have to look that up in the Catalan Film Institute. Any specific films? I could simply check up on the individual films themselves rather than look them up in a catalogue of certificates. DESPIDO IMPROCEDENTE is a comedy vehicle for the double act of Juanjo Menéndez and Jesús Puente, written by Moncada. I'm sure such a film would have been released on VHS. It may even make it to DVD in the future (Divisa perhaps? Or maybe Manga who have released most of the Pajares and Esteso comedies, which on the other hand were far more successful commercially. Puente and Menéndez were basically popular on the stage and TV). They probably have it in Barcelona's Video Instan, but only for rental. Will try and have a look into these matters. Just give me a little time, particularly since I'm resuming my old workload after summer. |
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| A.N. | Sep 20 2007, 12:39 PM Post #18 |
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You're very kind indeed. Thank you very much for your precious cooperation. As for the censor visas dates, if you find out that they are to be found at the Catalan Film Institute (I am afraid not), I'll send you the specific titles. But only if that does not give you too much trouble. Regarding DEPRAVACIÓN, I think it's very unlikely that Isabel Mulá actually directed it. This could have possibly been one of those films "ghost directed" by Ricard Reguant. It was the next one produced by Cunillés after SUECA, and the male performers of the (reportedly existing) hard sequences are the same as the aforementioned SUECA. |
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| MARIOBAVA | Sep 20 2007, 01:03 PM Post #19 |
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ciao Andrea DESPIDO IMPROCEDENTE ....I have a copy recently and I have not still seen it...... Send me an email and we speak best regards fantaterror@hotmail.com http://psychotronickultvideo.blogspot.com/ |
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| Nzoog Wahlrfhehen | Sep 20 2007, 05:40 PM Post #20 |
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Hello, there, "Mariobava"! As for what A.N. says, I'm beginning to wonder whether I was a little rash in sending info to the imdb. Most Spanish sources I've consulted (Freixas and Bassa, the Ministry of Culture's website, Carlos Aguilar identify "I. Mark Lane" as Mulá. If what you assume is true, I guess this was her registered pseudonym, and that it was tacked onto the director's credit DEPRAVACIÓN for her to get residuals. In any case, as someone who did script supervision on so many films, she would have been, I think, capable enough to direct. I don't think Reguant would be willing to give details about people who are still alive. This makes you wonder who he ghosted for within the softcore genre. I'd personally cancel out the Madrid films (unless he was willing to take the plane all the time) and, among those made in Catalonia, perhaps those of "Jacob Most", and pay special attention to anything made within the genre under the banners of Cunillés, Guevara or Iquino, especially with those he was openly credited as involved in. Don't know about Manuel Esteba, though. I'll try to see what can be done about Ministry of Culture authorisation numbers. I've got to go to the Film Insitute library to give back some books so... |
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