Sie tötete in Ekstase

This is the second film of Jess Franco I got to see. I have to admit that he is watchable on the level that his film are so different styled, that are indeed interesting. Better in the idea and plot from legendary "Vampiros lesbos", filmed in the same year , it fails a bit in camera work and photography. If you liked Vampiros Lesbos, go see it.

Featuring the beautiful brunette Miranda, this film scores better as a softcore porn rather than a thriller. Whatever the case, it just ain't the typical atmosphere you would expect in such a film. And of course this is recommended to all fans of sexploitation films. This even got enough style to make interesting viewing.

Jess Franco regarded the late Soledad Miranda as his muse and was devastated by her tragic death in 1970. The two made a handful of extraordinary movies released in 1970-71 with Miranda billed as "Susann Korda", including the legendary 'Vampyros Lesbos', arguably Franco's finest achievement. I've seen four of the Franco/Miranda collaborations to date, the others being 'Eugenie De Sade', which is almost as great as 'Vampyros Lesbos', and 'The Devil Came From Akasava', a campy (but entertaining) potboiler. 'She Killed In Ecstasy' is definitely better than 'Akasava', but not quite as impressive as the other two. I'm not exactly sure, but I get the impression that some of them were shot simultaneously. They share the same visual style, groovy music, and similar casts. Miranda plays the wife of a scientist (Fred Williams) who suicides after his experimental research is rejected by the medical establishment. She gets her revenge by seducing and murdering the four committee members involved with the decision one by one. They are played by Franco regulars Howard Vernon and Paul Muller, 'Vampyros Lesbos' co-star Ewa Stromberg and Franco himself. The cast also includes Horst Tappert who was in 'Akasava' playing a policeman. I've seen something like twenty Jess Franco movies to date, which is only a fraction of his 180+ output, but it's enough to know that I'm hooked. I find it to be difficult to be objective about his work, as even his lesser movies contain bits of genius. He is a frustratingly uneven director, capable of making astonishing movies when he really tries, but too often content to release seemingly rushed and unfinished films. 'She Killed In Ecstasy' is probably not the best place to start if you are a Franco neophyte, but I'd certainly rate it among his better films, and the utterly beautiful Soledad Miranda is always mesmerizing to look at. Newcomers are still recommended to start with 'Vampyros Lesbos', but if you get the chance to see this film, don't hesitate.

"She Killed In Ecstasy" must be one of Jess Franco's most artistically well-made films (I say "must be", because the man has made almost 200 movies, so it's hard to be sure!). Of course, there are scenes that make him come off as a hack (especially those involving physical violence), but at least the film is not boring, and it is helped immeasurably by the mesmerizing presence of Soledad Miranda. She is almost able to convince us that a woman would go to bed with her ten minutes after she had first met her (!), or that a man would go to bed with her even though he knows she is a killer out to get him (!); the story is still implausible, yes, but without her it would've been laughable. She is also able to suggest the rage and sorrow of her character, and indeed one thing that sets this movie apart from other revenge thrillers, such as "I Spit On Your Grave", is that it doesn't try to justify or celebrate the heroine's vengeance; instead, it presents an initially normal woman who seems to be getting more deranged by the minute because of her own actions. (**1/2)

Dr.Johnson conducts revolutionary experiments with human embryos he keeps in jars around the lab.When medical committee rejects his findings and orders him to stop his work,the doctor becomes depressed and commits suicide.His beautiful wife decides to seduce and kill three men and one woman 'responsible' for his suicide.Of course,two of the potential victims include Howard Vernon and Jesus Franco himself."She Killed in Ecstasy" is a pretty good Spanish horror film.The photography is excellent and easily captures the natural beauty of the lead actress,Soledad Miranda.There is plenty of nudity,but the film is quite tame.Still there is a really hot lesbian scene between Soledad Miranda and Ewa Stromberg,who was also in "Vampyros Lesbos".So if you are a fan of Jesus Franco you can't miss this film.7 out of 10.

This was only my second Soledad Miranda film, and it took me a while to get to it after being somewhat underwhelmed by EUGENIE DE SADE (1970), perhaps her most acclaimed collaboration with Jess Franco.

Anyway, I found SHE KILLED IN ECSTASY (which I watched via quite a satisfactory VHS dub) to be generally enjoyable and, typically of this period in Franco's career, rather good to look at (despite its obvious 'cheapness'). This, in fact, was one of the criticisms I leveled at EUGENIE DE SADE when I posted my first impressions of it on the 'DVD Maniacs' Forum: after the relative aesthetic beauty of THE DIABOLICAL DOCTOR Z [MISS MUERTE] (1965), EUGENIE…THE STORY OF HER JOURNEY INTO PERVERSION (1969), A VIRGIN AMONG THE LIVING DEAD (1971) and, to a lesser extent, LUCKY THE INSCRUTABLE (1967), I had found the leap into extreme realism (in the film's ambiance if not the plot's logical progression, which I had discussed with Francesco at the time) rather too jarring – BUT I'm digressing here, so back to the topic at hand…

SHE KILLED IN ECSTASY is aided immeasurably by its great pop soundtrack, with which I personally had no problem whatsoever. [Another brief parenthesis here: Francesco had told me that some of the same music is also featured in another notable Franco/Miranda collaboration, VAMPYROS LESBOS (1970), which I have yet to watch…so that's surely a point in its favor already!] The film is essentially a remake of the superior if more traditional MISS MUERTE, but with a few interesting plot changes: here, the controversial doctor is the husband and not the father of the leading lady, making for an even more intense revenge scenario; the girl, then, commits the murders herself this time around rather than relegating them to a subordinate a' la Miss Death; finally, even though in this case the deadly weapon is nothing more complicated than a dagger, the visual depiction of the 'murders' themselves (due, no doubt, to the more tolerant censorship prevalent in the late Sixties) is a lot more vicious. Similarly, a lot more eroticism is allowed here too, some of it purely gratuitous, but most effective during the lesbian sequences featuring Miranda and Ewa Stromberg (whose relationship, I felt, echoes the rather moving one between Maria Rohm and Margaret Lee in Franco's masterpiece VENUS IN FURS [1968]).

For the true Franco fan, the film's cast has been wonderfully assembled, beginning with Soledad Miranda herself, of course: though her performance is slightly overstated by the end, here she is perhaps even more compelling and seductive than in EUGENIE DE SADE (though I still think that one is the better film overall); regulars Howard Vernon, Paul Muller and Ewa Stromberg – not forgetting Franco himself – as the stuffy and arrogant doctors who condemn the girl's scientist husband, all of whom are subsequently helpless to resist her 'attentions' when she confronts them!; Horst Tappert as the rather lethargic (yet amusing) Police Inspector, who never even thinks of interrogating Mrs. Johnson (the name of Miranda's character) when the bodies start piling up and fails even to prevent her own suicide! Actually, the only actor who failed to convince was Fred Williams as Dr. Johnson, whose lengthy brooding and subsequent hysterics after he is expelled, tended to bog down the film's first half!

As such the film's pace is rather uneven: initially slow moving and fairly dull, where I really wanted the Williams character to die so that his wife's revenge plan could be put into action! Sure enough, it picks up speed from then on with the girl actively, almost nonchalantly, stalking her 'prey' (in alternately lush and common surroundings, at first in public and then privately), yet always allowing – or, we might say, compelling – them to make the first move towards their own demises! The ending, unfortunately, is somewhat hurried and quite poorly staged – though, in hindsight, its foreshadowing of a real-life tragedy (Soledad Miranda's own death in similar circumstances occurred before the film was even released) leaves a definite impact which, I would argue, goes far beyond Franco's own wildest expectations for his film!

Needless to say, I look forward now to seeing more films featuring this enchanting actress (her other work with Jess Franco above all), particularly VAMPYROS LESBOS and, in view of its thematic similarities with MISS MUERTE and SHE KILLED IN ECSTASY itself, the hopefully upcoming NIGHTMARES COME AT NIGHT (1970).