Maléfices porno

The French have a fine reputation for freaky fucking, xenophilia, miscegenation, and colonialism, so it is only natural that some fucked up frog would eventually direct a ridiculously racially-charged porn flick featuring a monstrous mandingo negro partaking in Europid flesh in a bestial fashion, but I never thought I would discover a work as wantonly whacked out as Maléfices porno (1978) aka Maléfices pornographiques aka Cavern Bondage directed by one-time-auteur Eric De Winter. Indeed, the film was deemed so degenerate in frogland upon its initial release that it was banned for two years, with the censor board writing regarding the work on 8 February 1977: “This film poses a problem of unusual severity. Outside images heavily and specifically sexual, developed in the most squalid conditions - the film climbs quickly to a level that exceeds the simple ranking on the list of pornography within the meaning of Articles 11 and 12 of the Law of the 30 December 1975. More problematic, in fact, are sequences of cruelty and sadism - tortures; scenes of blood; sexual abuse - racism - a long scene where a black man is obligingly reduced to a sexual object - terror finally - the vision of the bride diving naked and unconscious in a sulfuric acid bath. Despite the poor achievement of the direction that mutes the effect, the Control Commission has considered that this dishonorable film was not only injurious to the human person, but a danger to the mental and psychological integrity of an important part of the audience, even adult. It has accordingly concluded, unanimously, that the threshold of a total ban was reached.” Indeed, I can certainly see how some spineless and spiritually castrated government bureaucrats in post-colonial France might be worried by a film featuring whites babes torturing the genitals of a King Kong-like negro who later rapes an impotent white degenerate. Originally mad with the intention of appealing to the American S&M crowd, Maléfices porno, which was apparently shot in a cave north of Paris, was then revamped by auteur De Winter to appeal to the distinct tastes of fur-lickers. As a result of the pansy politically correct censors, the film was severely butchered and only exists today as a 57-minute cut, which was recently rereleased on DVD as a limited run of 300 copies by Serious Publishing. A phantasmagorical and somewhat psychedelic porn flick about a sexually impotent and unhappily middle-aged frog fellow of the rather physically repulsive sort who fantasies about inflicting brute carnal force on virginal white chicks and a beefy buck negro, Maléfices porno could be seen as an unconscious allegory for the degraded place of Frenchmen in the post-colonial/post-feminist age. Probably the most conspicuously exploitative racially-charged ‘horror’ flick since Ouanga (1936) aka The Love Wanga, Maléfices porno is a seriously perverse reminder why (sado)masochism and miscegenation go hand-in-hand. 

 An impotent frog cuckold (Gilbert Servien) who skinny arms yet a big gut attempts in vain to masturbate while his wanton wife (Laurence Jarry) gets involved in a less than titillating threesome with some dorky dude with a glaring bald spot and another woman. That night while lying in bed with his oversexed spouse, the supposedly horny yet ultimately sexually hapless Husband attempts to get his lover to screw him, but she complains, “You know that you can’t,” and confirms his lack of sexual virility by taking a peep at his perennially flaccid member. Before turning the lights off and going to bed, the Husband reads a trashy pulp novel on voodoo, which assumedly sends his mind into the gutter because when he falls asleep, he dreams of being a depraved sexual dictator with a limp dick who seems to have stolen his wardrobe from Coffin Joe. Taking place inside a poorly furnished cave covered in debris, Maléfices porno depicts in debasing detail what happens when an impotent frog fantasies about being a real man. At his command, the Husband has his Wife bring in two young women—a blonde and brunette—whose assholes he probes and pokes with his fingers in a rather raunchy fashion. When the less than well hung Husband gets bored with the girls, he has them cut-up with a blood-splattering buzzsaw. To liven things up a bit for him and his equally lethally lecherous lady love, the Husband brings out a gigantic buff negro named ‘L'Hercule’ aka Hercules (played by Manu Pluton, who previously appeared in Jacques Scandelari’s 1973 artsploitation masterpiece Beyond Love and Evil and later starred a “murdered Arab” in The French Connection II) and states of him while probably putting the bound black beast on display, “Look, look at this beautiful monster I’ve bought in Barbès.” A platinum blonde slave in a angelic white robe is also brought out so that the Wife can eat out her pussy. After chowing down on her Sapphic slave’s mighty meat curtain, the Wife begins torturing big black Hercules by waving her tits in his face while he is in bondage.  Needless to say, the giant jigaboo is hungry for white pussy, but he will also develop a distinct taste for hatefully penetrating middle-aged French manholes.

 After cutting off his exceedingly gay yellow thong with a dagger, the Wife begins stroking and sucking the gigantic jigaboo's burnt black snake, but of course, she pulls her despoiled mouth away before the negro slave can spill his dark seeds. Of course, the Wife eventually rides the black buck, though she finishes him off by jerking him off, for she surely wanted to avoid being impregnated with untermensch seed. After humping Hercules, the Wife forces the platinum blond to pissing in her hubby’s mouth. Like a demented prison dyke, the Wife also forces the brutalized blonde to munch on her meaty main vein and her impotent slave-driving Husband gets so jealous that he drives a butcher knife into the poor girl’s stomach. After diddling his Donkey Kong dong with a whip, the Wife begins driving pins into Hercules’ ebony skinflute while sadistically stating, “What’s up, cute boy? I’m going to put your big dick inside you up to your belly. You’re going to like that.” Needless to say, when Hercules manages to escape from his bondage, he goes berserk and savagely sodomizes the Husband, who takes it like a little bitch. When the Husband wakes up screaming from his debauched dreamed turned exceedingly emasculating nightmare, he decides his wanton wife must die, stating to himself, “What joy when this bitch is going to dissolve in a fat broth! It’s her fault if I can’t raise mast again. It’s her fault only. It’s her fault if I can only have sex in blood. In blood and death. Yes, it’s her fault. That bitch! She’s heavy but soon she’ll weigh nothing.” As he drops his unconscious wife into bathtub full of what looks like a curious cocktail of vomit and diarrhea but what really is sulfuric acid, the Husband says, “So long…bitch…So long,” and proceeds to laugh manically. 

 Maybe it is because I am mostly into vanilla sex, but it is rather hard for me to imagine someone deriving sexual satisfaction from Maléfices porno, which is nothing short of aberrant aesthetic torture of the patently pathetic sort. Indeed, the only people that the film might arouse are white cuckold horror fans that fantasize about their girlfriends being buggered by belligerent black beasts, or ruined white sluts with a perverse predilection towards dark meat. Of course, unlike when the film was first released, cuckold porn is apparently rather big nowadays, thus demonstrating that the French are truly the ‘progressive’ perverts that they have always been stereotyped as. Indeed, the only thing I could think about while watching Maléfices porno is that the French seem to have never gotten over the unfortunate fact that they were defeated and exterminated by negro slaves during the so-called Haitian Revolution, which was partly metaphysically influenced by voodoo.  Of course, voodoo does not make an appearance in (non)auteur Eric De Winter’s fuck film for nothing. Aside from being uniquely ugly and absurdly amateurish vintage celluloid smut, De Winter’s film features a seemingly accidental quasi-psychoanalytic depiction of the post-colonial French male mindset. Indeed, one could argue that the antihero’s anal pillaging by a negro sex slave is an aberrant allegorical representation of the Haitian Revolution, though that would probably be giving De Winter too much credit. Of course, as they say, once you go black you never go back, especially after having your rectum ripped by the schlong of a crazed colored King Kong. It should be noted that during the Haitian slave revolt, it was not uncommon for black ‘revolutionaries’ to rape white women on top of the corpses of their husband and children, which certainly makes De Winter’s film seem rather weak by comparison. While I cannot say I got much out of the film aside from a couple giggles, Maléfices porno did make me realize that Jean Rollin is more of an artist than I originally gave him credit for, as De Winter’s would-be-wanton-but-mostly-rotten fuck flick certainly makes The Rape of the Vampire (1968) aka Le viol du vampire seem like a lavish Bressonian arthouse masterpiece.

-Ty E