Rote Lippen, Sadisterotica

Despite its salacious title, Sadist Erotica is actually one of Franco's less extreme movies, a kitsch '60s detective caper in the style of Modesty Blaise or Danger Diabolik.

The film's heroines are detectives Diana (redhead Janine Reynaud, who looks like Jane Fonda's less attractive sister) and Regina (Rosanna Yanni, a blonde with a great body), who go by the name of 'Red Lips'. Their mission: to find out what has happened to missing model Lida (María Antonia Redondo, a cracking brunette, sexier than either of the main actresses, in my opinion). The guilty party is eye-patch wearing artist Klaus Thiller (Adrien Hoven), who sends his inexplicably hairy assistant Morpho (Michel Lemoine) to abduct beautiful women, the painter believing that his victims' deaths make his work everlasting.

In the right hands, this colourful exercise in comic-strip camp could have been a lot of fun, but Franco's direction here is leaden and his script seems to have been made up on the fly. For much of the time, not a lot of interest happens, with very little in the way of the expected Bond-style action. It's all very tongue in cheek and frivolous, and if it wasn't for some topless nudity, the film would be suitable for the whole family - not what most fans expect from good old Jess! Redondo in her underwear (in the opening scene) and Rosanna Yanni in a few sexy outfits aside, I found the whole thing very tedious, and longed for some Franco excess to spice things up.

This amusing but failed film is starred by two lovely ladies of the 'Red Lips' detective agency , both of whom are on the track of missing people . "Red Lips" are two female agents (Janine Reynaud as Diana and Rosanna Yanni as Regina) attempting to find abducted models and dancers . Two tough as well as scantily dressed detectives , the world's deadliest and most dazzlingly female spies , including their lipstick kiss as their trademark . A pop artist called Klaus (Adrian Hoven) aided by his right-hand , a hirsute werewolf-like assistant, Morpho (Michel Lemoine) , the latter a villain who cruelly kidnaps and murders his victims , result to be the main suspects for the missing and killings . At the end takes place a twisted surprise about the murders .

Colorful but mediocre rendition about European spy subgenre , an usual genre during the sixties , not taking any situation seriously ; being realized in similar style to famous strip-cartoon thrillers as Modesty Blaise , Diabolik and Barbarella . This very campy picture contains thrills , action , phantasmagoria , tongue-in-cheek , absurd situations , but being middlingly developed . The picture was made by the time in which Franco directed nice movies such as The sadistic Baron Klaus , Rififi En La Ciudad , Miss Muerte or Diabolic Doctor Z , Necronomicon and Gritos en la Noche , developing a consolidated professionalism , as his career got more and more impoverished in the following years, but his endless creativity enabled him to tackle films in all genres, from "B" horror to erotic films . The main and support cast -with everyone having fun- is passable , but they are really wasted . The best of the interpretation results to be Adrian Hoven in a double role as a cunning villain and sporting an eye patch, including some enjoyable moments . Furthermore , a sympathetic Manolo Otero , he was a Latin lover as well singer , early deceased , who married Eurotrash goddess Pilar Velazquez , in fact here he sings a charming song . And other uncredited actors in brief appearances as Claudia Gravy , Pilar Clemens , Marta Reves , Julio Pérez Tabernero and even writer Vicente Molina Foix . Atmospheric original music by Jerry van Rooyen , including jam session , disco music and a catching leitmotif . Evocative cinematography by Jorge Herrero being filmed on location in Manga Del Mar Menor , Murcia and Andalucia . The motion picture was middlingly directed by Jesus Franco and was followed by a sequel titled ¨Besame Monstruo¨ or ¨Kiss Me Monster¨ shot back to back with similar casting and technical team .

Jesus Franco was a Stajanovist filmmaker who realized 203 movies . However , here he doesn't use his trademarks , as he pulls off a traditional narration , without zooms , neither lousy pace . As the picture belongs to Franco's first period in which he made passable flicks . Jesus uses to sign under pseudonym , among the aliases he used, apart from the names Jess Franco or Franco Manera, were Jess Frank, Robert Zimmerman, Frank Hollman, Clifford Brown, David Khune , Toni Falt, James P. Johnson, Charlie Christian, David Tough , among others . Franco used to utilize usual marks such as zooms , nudism , foreground on objects , filmmaking in ¨do-it-yourself effort¨ style or DIY and managing to work extraordinarily quickly , realizing some fun diversions, and a lot of absolute crap . Many pictures had nice photography , full of lights and shades in Orson Welles style , in fact , Franco was direction-assistant in ¨Chimes at midnight¨ and edited ¨El Quijote¨ by Welles . He often used to introduce second , third or fourth versions , including Hardcore or Softcore inserts or sexual stocks many of them played by his muse Lina Romay . In many of the more than 200 films he's directed he has also worked as composer, writer, cinematographer and editor. His first was "We Are 18 Years Old" and the second picture was ¨Gritos en la Noche¨ (1962) , the best of all them , also titled "The Awful Dr. Orlof" , it's followed by various sequels such as El Secreto del Dr. Orloff (1964) aka "The Mistresses of Dr. Jekyll" , " Orloff y el hombre invisible (1970) aka "Dr. Orloff's Invisible Monster" and finally "Faceless" (1987) . He also directed to the great Christopher Lee in 4 films : "The Bloody Judge" , ¨Count Dracula¨, ¨The Blood of Fu Manchu¨ and ¨The castle of Fu Manchu¨ . Jesús's influence has been notable all over Europe . From his huge body of work we can deduce that Jesús Franco is one of the most restless directors of Spanish cinema and often releasing several titles at the same time. Many of his films have had problems in getting released, and others have been made directly for video. More than once his staunchest supporters have found his "new" films to contain much footage from one or more of his older films . Jesús Franco is a survivor in a time when most of his colleagues tried to please the government administration. He broke up with all that and got the independence he was seeking. He always went upstream in an ephemeral industry that fed opportunists and curbed the activity of many professionals . But time doesn't pass in vain, and Jesus' production has diminished since the 90s ; however he went on shooting until his recent death .

As Tim Lucas has pointed out, Jess Franco has made some of the best and some of the worst of European exploitation. The man made so many films that the majority fall somewhere in between, usually falling on the negative side of the spectrum. Two Undercover Angels is one such film. On the plus side are a terrific soundtrack, some good photography, and the occasional moment of genuine Franco lunacy. The downside: everything else. That the storyline is a mishmash of genres wouldn't be so important if Franco knew what kind of spirit or tone he wanted to aim for. The editing alternates between avant-garde and sloppy. But absolutely inexcusable are the English-language script and the dubbing. I have a high tolerance for much of the Franco dialogue that some critics refer to as "relentless and risible," but this was too much even for me. The banality of the dialogue seems inherent to the material: the dubbing-script translation makes matters worse by making much of it incoherent. As far as the technical aspects of the dubbing are concerned, there are repeated scenes in which characters speak but the actors' lips don't move. While not a disaster, this is a far cry from such amazing fare as She Killed in Ecstasy and The Bloody Judge.

Sadisterotica is a great title for a film. Sadly, the title is more or less the only good thing about this effort. This is a real mish-mash of ideas. It's part horror, comic-book hero, comedy, sexploitation and mystery. And really, it doesn't do justice to any of these genres! The plot follows a couple of women investigating a series of murders connected to a mysterious artist.

This is a Jesus Franco film, so expectations have to be lowered accordingly. The man has made some decent flicks such as Vampyros Lesbos and Count Dracula but he's also made an awful lot of dreck. This baby fits into the latter category I'm afraid. Technically it's terrible with a succession of badly photographed scenes roughly edited together. The actors are unappealing and the storyline dire. The version I watched also happened to have truly diabolical dubbing which did not exactly help matters.

The comedy is hopeless, the horror completely unscary, the nudity unerotic, the mystery uninvolving; the only positive I can offer is that it is pretty weird. Other than that I'm really struggling to think of anything kind to say about this. Franco is an acquired taste and this is not one of his best.

'Sadisterotica' (fantastic title!) isn't really your typical Jess Franco movie. Released in the same year as his classic 'Succubus', it doesn't consist of his usual blend of eroticism and horror, it is instead a campy detective comedy/thriller in the vein of 'Modesty Blaise' or Mario Bava's 'Diabolik'. Fans of Matt Helm and Austin Powers will dig it.

Two beautiful detectives Diana ('Succubus' star Janine Reynaud) and Regina (Rosanna Yanni) operate under the pseudonym "Red Lips", with a lipstick kiss as their trade mark. While investigating the disappearance of a woman they stumble across a series of abductions/possible murders, which appear to be linked to the mysterious eye-patch wearing artist Klaus Tiller, and his hirsute, werewolf-like assistant Morpho. (Adrian Hoven and Michel Lemoine, both also from 'Succubus'). The pair attempt to earn their clients' fee, catch the baddies, and simultaneously evade capture themselves by the police.

While 'Sadisterotica' is a little different from most of Franco's output it still features his trademarks of beautiful, scantily dressed women, illogical, dreamlike plots, and an almost Pop Art sensibility. This is certainly not Franco's best work, but it is some of his most accessible and entertaining. Lots of fun, and there is even a sequel!