Satan in High Heels

The movie is well enough done, and for what it was, a kind of cinema noire sexploitation, one of the better ones, even though it is now distributed by odd-ball outlets . Myles is a very competent actress,but her generous figure has been her worst enemy , as far as being taken seriously. She got a similar rap in 'The Phoenix City Story". But Myes forte is as a sensuous singer and she can hold her own with O'Day and the rest. The most interesting thing about this movie is the liberal use fetishism. An alternate title was straight out of Sacher-Masoch, " Venus in Furs" Meg Myles has a shapely foot and the director and the cameraman know it and pander to the fetish in several scenes. and the skillful Sado Masochistic leather slant is handled nicely, as well.; I've seen it bungled badly in some recent high budget stuff of recent years. I think the supporting cast was good, and credible with special kudos for Grayson Hall. I knew the club scene in Baltimore and NY in the 50 's and this flick captures it better than most.

Gritty, glum, moody, downbeat, depressing---all the elements that make black & white 60's sexploitation films based in New York City so much fun on a rainy afternoon. Superstacked sexbomb model and singer Meg Myles is perfect. Grayson Hall is great. Why Hollywood never utilized Myles' talents always puzzled me. Intrator lucked out casting her as a bitchy, cold-blooded user who gives an inch and takes a mile from everyone. He did a good job although his camera focuses more on Myles' feet than her famous 42-inches. Through sheer happenstance, she winds up at a Manhattan cabaret that's inhabited by a nest of spidery characters as jaded, rotten and nasty as she is. They try to mold her to their specifications. Her rebellion is futile because she wants to become the star of the club. Another 50's-60's bullet-bra icon, British blonde Sabrina, makes a rare film appearance as another club entertainer.

Satan IN HIGH HEELS treads the same "noirish" territory as Beverly Michaels' 1953 WICKED WOMAN -so much so it could be considered an unintended upscale remake. Stacey Kane ruthlessly uses men and women alike to rise from Midwest carnival burlesque queen to Manhattan jazz club diva but, like BLAST OF SILENCE's Frankie Bono (made the same year on location in NYC), a semblance of tender feelings can prove disastrous. Tired of bumping and grinding on the midway, Stacey steals her junkie ex-husband's bankroll and heads for New York and a new lease on life. On the plane she seduces a man who introduces her to the lesbian manager of a Greenwich Village jazz club where she's hired on the spot after a smoky audition and the voluptuous vixen wastes no time ensnaring the club's wealthy owner in her sexual web as well. Things get complicated when his teenage son also falls for her but Stacey, forced to choose between love and money, sees a way to have it all when her hell-bent for revenge ex-husband reappears brandishing a knife...

The early 60s NYC jazz club scene provides an atmospheric background for the rise and fall of a wicked woman with the lesbian club manager (Grayson Hall from DARK SHADOWS fame) and gay pianist lending an air of "adult" authenticity. Pneumatic pin-up queen Meg Myles as the predatory Stacey makes a memorable sociopath and gets to growl "Deadlier Than The Male" decked out in leather breeches and riding crop. As a compliment to the breast and leather fetishes, British sexbomb Sabrina is also on hand as the club's star attraction and she warbles as well. What's not to like?

This film was quite enjoyable really. It starts out a bit slow...and never really gets to full speed...but in the end it's got a pretty decent storyline going. A carny/burlesque girl rips off her carny/sleaze ball husband and sets out to the big city to find wealthier men to take advantage of. She gets a job at Pepe's, an upscale burlesque/variety club and proceeds to mercilessly make her play for the rich older man. And his son. This movie is worth watching if only for the vibe that it gives off. The early sixties smokey club scene is beautifully portrayed. The costumes are over the top and lovely. The riding outfit that the main character wears is priceless, as is the plastic-ish, big collared pant suit she wears in a couple of scenes. Pepe's wardrobe is gorgeously early mod. The ending was a little anti-climactic for me. I was expecting a lot more....like an actual murder. Either of her or of the old man. The way they left it was a bit lame. But still a pretty darn good film and worthy of a viewing.

The female of the species, is more deadly than the male!

Agreeably sordid melodrama is fine as a curiosity piece, although in truth, it's not titillating or sleazy enough to be of great use to hardcore exploitation fans. It stars Meg Myles ("Coogan's Bluff") as Stacey Kane. Stacey toils away as a burlesque show stripper at a carnival until her junkie ex-husband Rudy (Earl Hammond) shows up one night, wanting to start fresh. He's got a wad of bills with him (payment for a story he wrote), which is big temptation for her, so she steals it and takes off for NYC, where she soon starts a new life as singer in a nightclub, run by a lesbian character named Pepe (Grayson Hall of 'Dark Shadows') and owned by Arnold Kenyon (Mike Keene). Before too long, she's become involved with both Arnold and his ne-er- do-well son Laurence (Robert Yuro, "The Shakiest Gun in the West").

Overall, the movie is competently done, and certainly better acted than one might expect, with an especially fine, effectively bitchy performance by the sexy Ms. Myles. Hall and Keene are also quite good, but what's really amusing is noting that Paul, the suave, bisexual pianist, is played by Del Tenney. Tenney was better known as a cult director during the 1960s; he went on to helm "The Horror of Party Beach", "The Curse of the Living Corpse", and "Zombie" a.k.a. "I Eat Your Skin". English entertainer Sabrina (playing a character named Sabrina) rounds out the main cast.

Unfortunately for some, "Satan in High Heels" fails to measure up to that grabber of a title. It's not that the story isn't diverting at all, but the pacing is slow, and things never ever get that interesting, at least until Myles belts out her show stopping number near the end. In fact, the four songs in this movie are actually not bad.

Still worth a look, but it might not appeal to trash lovers across the board.

Six out of 10.