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During the political transition, the law adapted in order to authorize progressively softcore and hardcore movies. Jesus Franco’s erotic work played a key role in his films. From 'The Awful Dr. Orlof' to his last film, the director explored different aspects: the ‘destape’, the 'S' rated and 'X' rated films. The difficulties of making films of this type prompted Jesus Franco to leave Spain to shoot 'Necronomicon' (1967). He reached the fullness of his creation through softcore films interpreted by his muse Soledad Miranda. The strength of the director’s voyeurism converted these hardcore movies into female hardcores with or without the actress and in the subsequent years. The evolution of the law will bring about a double phenomenon: the double versions and the ‘soft to hard’ films, i.e. movies which had already been shot and to which pornographic elements were added. Such manipulations which Jesus Franco accepted or even assumed responsibility of are not only circumstantial insofar as the whole cinematographic work of the director is a form of constant manipulation. With the pornographic film, the director completed his career though the total ‘visibility’ of his films does not really correspond to voyeurism and it is no wonder that that the ‘X’ films which were shot in Spain were his partner and actress Linda Romay’s making . Even if the evolution of Spain during the transition didn’t equate that of the director’s creation, it remains that the former, having to adapt laws to the cinema, contributed to alter Jesus Franco’s trajectory.Durante la Transición política, la ley se va a ir adaptando para poder autorizar, progresivamente, las películas softcore y hardcore. La obra erótica de Jesús Franco ocupa un lugar esencial en su filmografía. Desde Gritos en la noche hasta sus últimas producciones, el director ha ido explorando sus diferentes facetas: el destape, la calificación “S” y la clasificación “X”. Las dificultades para poder realizar obras de este tipo hacen que Jesús Franco abandone España para poder rodar Necronomicon (1967). Alcanza la plenitud de su creación gracias a films softcore interpretados por su musa Soledad Miranda. La fuerza del voyeurismo del director convierte estas cintas softcore, con o ya sin la actriz en los años posteriores, en una forma de hardcore femenino. La evolución de las leyes va a producir un doble fenómeno: las dobles versiones y las soft to hard, películas ya rodadas a las que se les añade un fragmento pornográfico. Esas manipulaciones, que acepta o asume Jesús Franco, no son únicamente circunstanciales en la medida en que todo el cine del director es una forma de constante manipulación. Con el cine pornográfico, el director alcanza el final de su trayectoria, aunque la “visibilidad” total no se corresponde realmente con su voyerismo y no es de extrañar que los films “X” rodados en España lo fueran por su compañera y actriz Linda Romay. El artículo relaciona bien el itinerario del cine de Jess Franco con la evolución del cine del destape, "S" y "X" desde los estertores del franquismo hacia la Transición y los primeros años de la democracia

Deslizamientos progresivos del placer: del S al X en el cine español (el caso de Jesús Franco)