#adrian hoven

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[weirdlookindog]

Hexen bis aufs Blut gequält (1970)

AKA Mark of the Devil

[ceteradesunt]

Mark of the Devil (1970) dir. Adrian Hoven & Michael Armstrong

[fisarmonical]

Adrian Hoven was born on 18 May 1922 in Wöllersdorf, Lower Austria, Austria. He was an actor and producer, known for Der Mörder mit dem Seidenschal (1966), World on a Wire (1973) and Castle of the Creeping Flesh (1968). He died on 8 April 1981 in Tegernsee, Bavaria, Germany. (Source: IMDB)

[davidhudson]

Adrian Hoven, May 18, 1922 – April 28, 1981.

With Margit Carstensen and Rainer Werner Fassbinder on the set of Martha (1974). Photo by Michael Friedel.

[suspiria76]

MARK OF THE DEVIL PART 2 also known as THE WITCHES

Germany/Austria

1972

Directed by Adrian Hoven

[tinygoldenbooks]

Last night movie :

Im Schloß der blutigen Begierde - Adrian Hoven (1968)

[moviesandmania]

CAVE OF THE LIVING DEAD Reviews and free on Dailymotion and YouTube

‘Beyond the black mouth of the cursed cave lurk the unfleshed…’ Cave of the Living Dead is a 1964 horror film about a mad scientist and his bevy of vampires terrorising a European village. An American detective and a local witch joins forces to defeat them. Produced and directed by veteran Ákos Ráthonyi [as Akos von Ratony] (Take Off Your Clothes, Doll; The Devil’s Daffodil) from a screenplay…

[clemsfilmdiary]

Despair (1978, Rainer Werner Fassbinder)

3/7/23

[rwpohl]

https://www.youtube.com/watch?v=pKoM6zVSpUQ

*

[notesonfilm1]

FEAR OF FEAR/ ANGST VON DER ANGST (Rainer Werner Fassbinder, West Germany, 1975)

[theactioneer]

The Erotic Adventures of Siegfried aka The Lustful Barbarian (Adrian Hoven, 1971)

[weirdlookindog]

Ingeborg Schöner in Mark of the Devil (Hexen bis aufs Blut gequält, 1970)

[docrotten]

MARK OF THE DEVIL (1970) – Episode 217 – Decades Of Horror 1970s

“She’s the one who had intercourse with the Devil on Goat’s Mountain! He took her to his den in the disguise of a little donkey and then they fornicated all night long! She’s the witch! She’s the witch!” A little donkey, eh? Join your faithful Grue Crew – Doc Rotten, Bill Mulligan, Chad Hunt, and Jeff Mohr – as they try to get their arms around another infamous film. This time it is Mark of the Devil (1970).

Decades of Horror 1970s Episode 217 – Mark of the Devil (1970)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

Decades of Horror 1970s is partnering with the WICKED HORROR TV CHANNEL (https://wickedhorrortv.com/) which now includes video episodes of the podcast and is available on Roku, AppleTV, Amazon FireTV, AndroidTV, and its online website across all OTT platforms, as well as mobile, tablet, and desktop.

In 1700s Austria, a witch-hunter’s apprentice has doubts about the righteousness of witch-hunting when he witnesses the brutality, injustice, falsehood, torture, and arbitrary killing that go with the job.

Directed by: Michael Armstrong; Adrian Hoven (uncredited)

Writing Credits: Michael Armstrong (as Sergio Casstner) & Adrian Hoven (as Percy Parker) (original story and screenplay) 

Producer: Adrian Hoven

Music by: Michael Holm

Selected Cast:

Herbert Lom as Lord Cumberland

Udo Kier as Count Christian von Meruh

Olivera Katarina as Vanessa Benedikt (as Olivera Vuco)

Reggie Nalder as Albino

Herbert Fux as Jeff Wilkens – Executioner

Johannes Buzalski as Advocato

Michael Maien as Baron Daumer

Gaby Fuchs as Deidre von Bergenstein

Ingeborg Schöner as Nobleman’s Wife

Adrian Hoven as Walter – the Nobleman

Günter Clemens as Friedrich

Doris von Danwitz as Elisabeth

Dorothea Carrera as Young Lover

Percy Hoven as Christopher (uncredited)

Friedrich Schoenfelder as Narrator (uncredited)

Emile Stemmler as Monk (uncredited)

Get your barf bags ready! The Grue-Crew is reviewing the 1970 witch-hunter gore-fest Mark of the Devil (1970). The film features Herbert Lom, Udo Kier, and Reggie Nalder. While the special effects may be tame compared to modern films, their impact on early Seventies audiences is unmistakable. They’re graphic, disturbing, and often difficult to watch. Does this film still earn the reputation of requiring a barf bag to enter the theater? Perhaps not, but the film is surprisingly well made with a strong cast and, quite honestly, shouldn’t be missed by horror fans and Seventies cinema aficionados.

At the time of this writing, Mark of the Devil (1978) is available to stream from Amazon Prime and Tubi and is available on physical media as a 4K Ultra HD 3-disc Set from Vinegar Syndrome

Gruesome Magazine’s Decades of Horror 1970s is part of the Decades of Horror two-week rotation with The Classic Era and the 1980s. In two weeks, the next episode, chosen by Doc, will be Vengeance of the Zombies (1973), a Paul Naschy (or if you prefer, Jacinto Molina Álvarez) flick. This one is sans Waldermar Daninsky, Naschy’s frequent role, but gives you an Indian mystic and women zombies. Yay!

We want to hear from you – the coolest, grooviest fans: comment on the site or email the Decades of Horror 1970s podcast hosts at feedback@gruesomemagazine.com.

Check out this episode!

[byneddiedingo]

Rainer Werner Fassbinder and Peter Chatel in Fox and His Friends (Rainer Werner Fassbinder, 1975) Cast Rainer Werner Fassbinder, Peter Chatel, Karlheinz Böhm, Harry Baer, Christiane Maybach, Adrian Hoven, Ulla Jacobsson. Screenplay: Rainer Werner Fassbinder, Christian Hohoff. Cinematography: Michael Ballhaus. Production design: Kurt Raab. Music: Peer Raben. I have a feeling that Fox and His Friends seems much less exotic or sensational to viewers today than it did in the mid-1970s, given the steady movement of depictions of gay men into mainstream entertainment. At the time it created outrage, not just from defenders of the heterosexual norm but also from the gay community, which found much of it distorted and unflattering. But Rainer Werner Fassbinder's story is not about being gay, it's about being exploited, about mistaking predation for love. Fassbinder's Franz Biberkopf, known as "Fox" from his gig as "Fox the Talking Head" in a sleazy carnival act, is a classic naïf who is taken for all he's worth -- which is the 500,000 Deutschmarks (a bit under $125,000 in the day) he won in the lottery. Fassbinder the director doesn't make it clear that the well-dressed guys Franz meets after one of them, Max (Karlheinz Böhm), picks him up outside a public lavatory, are intentionally trying to fleece him, until Eugen (Peter Chael), whose father's printing business is in financial trouble, sees a way to persuade Franz to rescue the company with a sizable investment and promises of part ownership of the firm. It could be, of course, that Eugen just gets a kick out of sleeping with the working class Franz. But he throws over his current lover, Philip (Harry Baer), and takes the rough-hewn, slightly homely Franz into his home and bed. Is Eugen telling the truth when he tells Franz that he's being kicked out of his apartment for being gay? It would be entirely plausible in the place and time. Or is it a lie that gives Eugen an opportunity to persuade Franz to buy a posh new apartment, and to furnish it with opulent antiques from Max's shop? And to go along with Franz's new image as a haute bourgeois businessman, he of course needs new clothes from Philip's fashionable shop. None of this exploitation feels premeditated except in hindsight, as Franz becomes Eliza Doolittle to Eugen's Henry Higgins -- though with less overt success. The resulting film is a superb tragicomedy, one of Fassbinder's best films, I think. Fassbinder turns out to be as good an actor as he is a writer and director, giving Franz just the right blend of naïveté and street smarts. I think the ending of the film is a shade heavy-handed, but the rest of it is full of extraordinary satiric moments: The horrifying scene in which Eugen brings Franz to dinner with his parents. The vacation in Morocco, where the man* Eugen and Franz pick up on the streets is refused entrance to the Holiday Inn Marrakech -- though wouldn't a pretentious bourgeois like Eugen have chosen a tonier hotel? -- because it doesn't admit Arabs. (The employee refusing the entrance, himself an Arab, suggests that if they want boys, he could provide some from the hotel staff.) And the moment of truth in which Franz realizes he's been conned is shattering. Michael Ballhaus's vivid color cinematography is complemented by Kurt Raab's production design, especially in the garishly overdressed apartment which includes a chandelier hanging so low that guests have to walk around it, that Eugen puts together with the most expensive pieces from Max's antique shop. Only after Eugen and Franz break up does Eugen reveal that he hates the place: He has clearly condescended to what he thinks an uncouth working class guy would think is the height of fashion. *Played by El Hedi ben Salem, the star of Ali: Fear Eats the Soul (1974), who had been deported to Morocco after a bar fight in Germany. Brigitte Mira, ben Salem's co-star in that film, also has a cameo as the shopkeeper who originally denies Franz admittance to her store to validate his lottery ticket until the suave Max flatters her into it.

[ruivieira1950]

Adrian Hoven