
Other genre appearances include 1972's environmental horror Doomwatch for erstwhile Hammer competitor Tigon Pictures; the 1973 psycho thriller It Happened at Nightmare Inn for (directed by Eugenio Martin, who also helmed the wonderful 1972 Horror Express); and the sluggish Dominique (1978) with Cliff Robertson and Jean Simmons.

Here's the trailer, to give you an idea of the level of filmmaking I'm talking about. Warning: there is some sleaziness.
In 1984 Geeson moved to Los Angeles and began doing guest spots on just about every popular television show, from "The A-Team" to "MacGyver" to "Mad About You" and "Charmed." She most recently appeared in three episodes of "Gilmore Girls," and has her own antique shop in Beverly Hills.

In Our Mother's House (1967), also for Jack Clayton, she played part of a family of children who, fearing being taken to the orphanage when their religious fanatic mother dies, bury her body in the back garden and carry on business as usual. This one's awfully hard to see in the States; it sounds really intriguing to me. It also features Dirk Bogarde and Oliver!'s Mark Lester. She was also in The Prime of Miss Jean Brodie (1969), the film she's probably best-remembered for.

After Hell House, Franklin moved to Hollywood and began doing lots of television. She enrolled in Satan's School for Girls (1973) and did so many guest spots that her CV reads like a history of American TV in the 70s. She did two films for Mr. B.I.G. himself, Bert I. Gordon, the misguided Necromancy (1972) and Food of the Gods (1976), her last theatrical feature.
I haven't heard of her doing any guesting or convention appearances since she stopped working officially, so I guess she's just happy in retirement.

That same year she made Die Screaming, Marianne! for notorious sexploitation/horror director Pete Walker as well as the controversial Straw Dogs for Sam Peckinpah. In Dogs, she plays the sexpot wife of milquetoast Dustin Hoffman, who exacts a violent revenge when she is gang raped by a gang of local toughs. The harrowing rape sequence is all the more squirm-inducing when she appears to begin enjoying it.

On their wedding night, Hammond discovers Blanche isn't a virgin after all and rejects her. He turns to his slave, Ellen (Brenda Sykes), whom he'd already been in love with. In retaliation, Blanche begins bringing Hammond's prize Mandingo "buck," Mede (Ken Norton) upstairs for some heavy-duty sexing and becomes pregnant with his child. Hammond is forced to kill them all to preserve his reputation.
My God, it's a sleazy film. It features graphic whippings and other tortures, "wenches" preparing themselves for devirginization by their "massas," and young children, referred to as "saplings," being used as footstools by the cast, including James Mason as Hammond's father!
Here's a scene where Blanche discovers Ellen's true relationship with Hammond and metes out her punishment. This'll give you a good idea of the sleaze factor.
It was hard to top such a career peak, and George made a few more genre films, including Tintorera, for Rene Cardona, Jr., Venom with Oliver Reed and Klaus Kinski, and the bizarre Japanese-American co-production, The House Where Evil Dwells with Doug McClure. Reportedly she also recorded an album with then-fling Jack Jones!
Today George raises horses along with her husband, Simon MacCorkindale, at their stud farm, Georgian Arabians.
Yes, there are certainly more smashing birds to be mentioned, but these are the first three that come to mind. I'll continue this theme later. The Woman of Hammer Films definitely deserve a post of their own.
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