Celebrating Lina Romay: Exorcism & Lorna, the Exorcist

We’re kicking off a very extended look at the work of Jess Franco and the late, great Lina Romay with two ’70s era films: Exorcism and Lorna, The Exorcist. Do not let the questionable English titles fool you: there’s no exorcism in Lorna and the exorcism in Exorcism is mostly Jess stabbing naked women with a switchblade while ranting about saving their souls.

Exorcism and Lorna, the Exorcist are both sterling examples of what a Jess Franco Picture is: both star the late, great Lina Romay, both have explicit sex scenes, and both deal with the confusing, perverse magic of female sexuality. Not only that, it seems like they both benefit from the Jess Franco Method of making films: finding locations that work, actors that work, and building a film around them. Both of these films, as well as Celestine Maid At Your Service and Brutal Nights of Linda, were shot using the same basic crew (though Exorcism didn’t see release until ’79, apparently) — some people don’t care for this approach but I applaud Jess’s work ethic. More is better than less!

One of the most interesting parts about Exorcism (L’éventreur de Notre-Dame) for me was the utterly Franco-ian fixation on public sex, particularly S&M shows. There are numerous examples of dark, sexy stage shows in Franco films (Succubus and Vampyros Lesbos, off the top of my head), and an S&M black mass is at the center of Exorcism’s plot. To Franco (and to Lina) in the 70s, sex was performative – Exorcism’s show takes the form of a Satanic rite, complete with chalices, bondage gear, and incantations. The audience watches the women perform bondage as we watch the audience watching them; it’s meta-performance, and the levels upon which Franco presents performance and spectatorship are fascinating to take apart. And Lina was always his partner in this performance; she was ready for anything Jess would throw at her, and Exorcism is a prime example of their equal partnership, in which one would push the other to do great things.

Jess playing a defrocked priest who attempts to save the souls of the damned through exorcism ending in murder is pretty much right in line with his general interests, particularly considering said priest makes a living writing second rate Sadean stories for (if we remember right) Knives And Garters Quarterly. While submitting his latest masterpiece, he overhears talk of a black mass (basically one of Jess’s patented nudes-and-fake-blood nightclub shows) and decides to make things right…PERMANENTLY! It’s not one of his most intricate plots, but things move along at a brisk pace and you get plenty of what you signed up for.

The character Lina plays in Lorna, the Exorcist (Les possédées du diable) is a far cry from her usual vixen roles – Lina is Linda (so many L names!), the soon-to-be-18 daughter of a man who made a deal with Lorna, a Satanic witch (I think?), before her birth, trading Linda upon womanhood for riches. Lina is innocent, corruptible, with increasingly dirty dreams of a beautiful (if ridiculously made-up) woman. It’s nice to see Lina stretch a bit and take on the wide-eyed ingenue role, but it’s equally amazing to see that final shot of Lina laughing hysterically, just having murdered her father.

Lorna is played by one-time Les Folies Bergère dancer and Franco regular (Doriana Grey, Sexy Sisters) Pamela Stanford, decked out in a truly unreal series of wigs and eye makeup, offering a promise of wealth and power to Patrick, Linda’s father, in exchange for his first born child on the day of her eighteenth birthday. Patrick, currently childless, doesn’t think too much about it and happily beds Lorna and follows her gambling advice. Eighteen years later, however, he’s decided he’s keeping his baby. Meanwhile, Catherine Laffiere is in a Renfieldian psychic connection with Lorna from her asylum bed where she writhes around and gets occasional visits from Dr. Jess. Did I mention Howard Vernon is Lorna’s butler?

Whether you’re as familiar with Lina’s work (and as bummed out by her way-too-soon passing) as we are, or a Franco naif, these two films are required viewing. They serve both as a great introduction to the Lina-Jess partnership, as they contain all the elements of the couple’s most fruitful collaborations, and as a way to celebrate the wonderful, inspiring, bonkers career of Lina Romay, a woman who would do anything, and was absolutely magnetic in the process.

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