Ana (Emma Cohen) and her father (Howard Vernon) have always meant the world to each other but their idyllic life together shatters when the girl wants to get married and, going into his study to show him her wedding gown, she finds her dad dangling from the end of a rope. Devastated, Ana puts her piano skills to good use by running away to become a singer in a lounge band only to find the pain's inside. She's a beauty and men are interested but whenever Ana reciprocates, the image of her father's suicide appears to her in mirrors and she sees herself stabbing those men to death. Unfortunately, whenever that happens, she either hears or reads in the paper that the men really were murdered. Devastated again, Ana tries to commit suicide but her best friend intervenes and takes her to a beautiful island to rest and recuperate - the island where Ana and her father lived...
The Spanish version of this film is considered to be the "director's cut" and I don't know how personal the film was to Franco but I took it personally. There's a fairytale quality to this adult nightmare about guilt and the burdens of the past we all carry but since it sounds like an oxymoron to put "expertly realized" and Jess Franco in the same sentence, suffice it to say that THE OBSCENE MIRROR was downright hypnotic. So much so, I didn't mind the time it took to get where it was going -and it certainly took its time. There were too many non-essential musical interludes and the camera's meaningless meandering makes Franco the most frustrating director I've ever encountered. All the zoom-in, zoom-out, pan right, scan left would be OK if it meant something but doing that to a flower bed or a harbor? Not only that, he'd go in for a close-up on a patron in a nightclub audience and linger so long I felt the person was bound to become part of the story but, no, they were just extras. Credit must go not only to the screenplay but to the cinematographer because there were long stretches where the film didn't seem like it was being "directed" and was quite beautiful to contemplate. All I can say in defense of my 8/10 rating is "there's something about it".
The Spanish version of this film is considered to be the "director's cut" and I don't know how personal the film was to Franco but I took it personally. There's a fairytale quality to this adult nightmare about guilt and the burdens of the past we all carry but since it sounds like an oxymoron to put "expertly realized" and Jess Franco in the same sentence, suffice it to say that THE OBSCENE MIRROR was downright hypnotic. So much so, I didn't mind the time it took to get where it was going -and it certainly took its time. There were too many non-essential musical interludes and the camera's meaningless meandering makes Franco the most frustrating director I've ever encountered. All the zoom-in, zoom-out, pan right, scan left would be OK if it meant something but doing that to a flower bed or a harbor? Not only that, he'd go in for a close-up on a patron in a nightclub audience and linger so long I felt the person was bound to become part of the story but, no, they were just extras. Credit must go not only to the screenplay but to the cinematographer because there were long stretches where the film didn't seem like it was being "directed" and was quite beautiful to contemplate. All I can say in defense of my 8/10 rating is "there's something about it".