Ana (Emma Cohen) is devastated when she finds her overprotective father (Howard Vernon) has committed suicide. She immediately calls off her wedding and begins playing piano in jazz clubs. Soon, the voice of her father calls to her from an antique mirror urging her to kill any man who shows interest in her.
Slow, moody, and sometimes beautiful, The Other Side of the Mirror is a reminder what Jess Franco could do with a little time on his side, a little money in his pocket, and a sturdy script to work with (or at least an intriguing idea). It’s much more arty than it is exploitative. (There is some nudity, but nothing approaching the sleaziness the man is known for.) Like the music the heroine plays, the plot moves like jazz. It’s loose, freeform, and takes some unexpected detours here and there. Nevertheless, it has a groovy rhythm, and it’s quite rewarding if you’re patient. It contains some dreamlike passages and a few haunting moments, which is indicative of what Franco was capable of when he was firing on all cylinders.
Cohen is quite good as the heroine who seems to spiral whenever a man begins making advances toward her. Vernon also makes a memorable impression in a small amount of screen time. The weight of his few scenes in the early going cast a shadow over Cohen’s character. He remains a striking presence throughout the film long after he's kicked the bucket.
Sure, The Other Side of the Mirror has some pacing problems. I mean, we didn’t need to see Cohen’s jazz numbers in their entirety. That’s a small quibble because when the movie cooks, it’s some gourmet shit. This is one of Jess Franco’s best. It’s one that film scholars and Franco aficionados alike can probably agree on.
Franco also has a cameo as a musician in the jazz club.
AKA: The Obscene Mirror. AKA: Inside a Dark Mirror.
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