La maison des filles perdues

1974 [FRENCH]

Action / Drama / Thriller

8
IMDb Rating 3.8/10 10 221 221

rape brothel slavery murder forced prostitution

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Plot summary

A luxurious house stands in a deserted region, contrasting with its surroundings. It is a house of prostitution and its inmates are brought there against their will. One of them, Yvette, is helped to escape by Mr Gaston, a regular customer and she tells the story of her ordeal to the police.

Director

Pierre Chevalier Photo
Pierre Chevalier

Top cast

Remo De Angelis Photo
Remo De Angelis as Thug
Sandra Barry Photo
Sandra Barry as Magda
Antonia Lotito Photo
Antonia Lotito as Mimie
Mario Santini Photo
Mario Santini as Calvet
720p.BLU 1080p.BLU
826.01 MB
1280*690
English 2.0
Not Rated
23.976 fps
1 hr 29 min
Seeds 1
1.5 GB
1920*1036
English 2.0
Not Rated
23.976 fps
1 hr 29 min
Seeds 8

Movie Reviews

Reviewed by CrimsonRaptor 3 / 10

???A Sleaze Factory With No Assembly Instructions ?

I have watched enough grimy 1970s Eurotrash to know when a film is merely sleazy versus when it is genuinely confused about its own identity, and "House of Cruel Dolls" lands firmly in the latter category. This is what happens when someone, presumably producer Marius Lesoeur or director Pierre Chevalier, decided midway through production that a white slavery exploitation film needed to also be a spy procedural, then stitched the two together with all the grace of a drunk surgeon. The result is not entertainingly bad; it is tediously incoherent, a slog through repetitive scenes that exist only to fill runtime between flashes of nudity.The film opens with Magda Mundari as Yvette, naked and supposedly trapped in some vague prison brothel, being "rescued" by Raymond Schettino's Mr. Gaston in a sequence that feels like it was imported from a different movie entirely. They end up at a police station where the structure collapses into an endless flashback, and suddenly we are watching Olivier Mathot's Mr. Raski run his trafficking operation with the enthusiasm of a man filing taxes. Mathot looks bored, frankly, and I cannot blame him. The scenes of women being groped in garages and cargo holds repeat so often they become visual wallpaper, numbing rather than shocking. There is no tension, no escalation, just the same dingy locations and the same leering henchmen, particularly Claude Boisson doing his best thug impression with zero menace.Then, without warning, Jack Taylor shows up as Special Agent Jack, and the film pivots into spy territory. Taylor, a capable actor in better projects, wanders through Tangiers and Barcelona looking like he is searching for the actual script. His scenes have a different texture entirely: suddenly there are government agencies, intel gathering, mysterious reassignments. Sandra Jullien enters as Magda, another agent, and her infiltration of Raski's operation should be the film's centerpiece, but instead it becomes another protracted assault sequence in that godforsaken cargo hold. The film treats sexual violence as filler content, devoid of consequence or emotional weight, just another exploitative beat to pad the runtime. When Jullien finally karate chops her way out and Taylor arrives for a shootout, it feels less like a climax and more like the film remembered it needed an ending.What lingers is not any particular image or performance, but the overwhelming sense of waste. You can feel two separate films here: one a tawdry exploitation piece about kidnapped women (done poorly but at least coherent), the other a Eurospy thriller with agents and international intrigue (also done poorly). Spliced together, they cancel each other out. The spy elements drain any transgressive energy the exploitation angle might have had, while the endless brothel scenes bog down any momentum the espionage plot tries to generate. Neither story gets room to breathe, let alone develop characters or stakes. Yvette disappears for long stretches. Jack appears too late to matter. Raski never registers as a threat.The technical execution matches the narrative confusion. Cinematography is flat, lighting harsh and unflattering, editing abrupt and disorienting, not in a stylish way but in a "we shot this in a week" way. The score, when present, is generic library music that seems unaware of what is happening onscreen. No single frame suggests anyone involved cared about craft or atmosphere. Compare this to something like "Thriller: A Cruel Picture," which uses exploitation tropes within a revenge framework that at least commits to its own ugliness, or even Jess Franco's sleazier work, which maintains a perverse internal logic. "House of Cruel Dolls" commits to nothing, believes in nothing, and consequently offers nothing.This will appeal to exactly two types of viewers: completists cataloging every Eurocrime exploitation hybrid from the 1970s, or audiences seeking unintentional comedy in narrative disaster. Everyone else, even those with high tolerance for low budget exploitation, will find this a chore. It is not shocking enough to provoke, not stylish enough to admire, not incompetent enough to laugh at. It simply exists, inert and exhausting, a reminder that sometimes two bad ideas combined do not create something interestingly terrible, just something twice as dull.
Reviewed by

Reviewed by BandSAboutMovies 2 / 10

Eurocine invented the remix!!!

Directed by Pierre Chevalier (using the name Peter Knight, the same he'd use for Panther Squad) who co-wrote this with A. L. Mariaux - but come on, we all know that that's Jess Franco - this Eurocine film is a cut and paste marvel that uses footage from a movie made seven years before, Agente Sigma 3 - Missione Goldwather, so that explains why this starts as a sleaze film all about a house of, well, cruel dolls, and ends up a spy movie. Eurocine did it one better by taking these leftovers, warming them up and re-releasing them eight years later as Police Destination Oasis, also adding in some of Agente Sigma 3 - Missione Goldwather and a pinch of Franco's Two Female Spies In Flowered Panties.

In those first few moments, a regular customer falls in love with cruel doll Yvette (Magda Mundari) and helps her escape. They go to the police and...cue the Jack Taylor Eurospy footage.

Speaking of cobbling together multiple movies to make a new narrative, this was released on blu ray in the U. S. by Full Moon, the same company who often edits shortened narrative destroyed versions of their films into make no sense anthologies and had the absolute gall to rip off Bruno Mattei's Hell of the Living Dead and turn it into Corona Zombies. Yes, Full Moon ripped off a movie that ripped off Zombie which was ripping off Dawn of the Dead and also stole footage from Yeti Giant of the 20th Century and the mondo films Des morts and Nuova Guinea, l'isola dei cannibali while also ripping off music from Buio Omega and Blood and Diamonds.

Notice how my morals are: I am perfectly fine with Franco and Mattei robbing other movies but I draw the line at Charles Band.

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