Der Teufel kam aus Akasava

Devil Came from Akasava, The (1971)

* 1/2 (out of 4)

Fred Williams and the beautiful Soledad Miranda star in this campy film that tries to pay homage to your 60's spy movies. A mineral, which can kill and then bring the dead back to life, is stolen so it's up to the Secret Agents (Williams/Miranda) to get it back before more trouble breaks out. Sadly, Miranda died just after finishing this film, which was shot at the same time as Vampyros Lesbos and She Killed in Ecstasy. Both of them films are a lot better but Miranda turns in a good performance here, which makes her death all the more sad since it's clear she would have had a great future. The film itself is meant to be campy but it just didn't make me laugh. I also thought the story was rather poorly written, which is another reason I couldn't stay entertained. Howard Vernon, Paul Muller and Franco himself have roles as well. This film is mainly recommended to those who need to see every Miranda film but her other Franco's films are a lot better.

I've seen close to twenty Jess Franco movies now and my all time favourites are 'Eugenie De Sade' and 'Vampyros Lesbos', both of which starred the stunningly beautiful Soledad Miranda. Miranda acted in both movies using the pseudonym Susann Korda and died tragically in 1970 before 'Vampyros Lesbos' was released. 'The Devil Came From Akasava' is another Franco movie from this period, and while it isn't as good as the aforementioned it's still highly recommended viewing if you're a Franco fan. It's based on an Edgar Wallace thriller and the plot concerns a missing scientist, Professor Forrester (Angel Menendez) who has allegedly discovered The Philosopher's Stone, that is, a mysterious radioactive mineral which can turn objects into gold. Miranda plays Jane Morgan, a British Secret Service agent who is sent to Akasava posing as an exotic dancer. When she tries to uncover the whereabouts of Forrester and his discovery she finds herself embroiled in a confusing situation where nobody is what they appear to be. The plot isn't what makes this movie so bewitching. It's very Bond lite, and similar territory to Franco's earlier 'Sadisterotica'. What makes 'The Devil Came From Akasava' a pleasure to watch is Soledad Miranda's beauty. Her face and presence are hypnotic and when combined with the ultra groovy score (chock full of fuzz guitar, electric sitar, harpsichord,etc.), man, that's all you need to know! Miranda steals every scene she's in, but the supporting cast includes Ewa Stromberg, who co-starred in 'Vampyros Lesbos', Fred Williams, Horst Tappert, Franco regulars Paul Muller and Howard Vernon, and Franco himself as Tino Celli. I can't say that this is Franco's best movie, but it's as entertaining as all hell, and a pretty good introduction to his amazing output (180+ movies!).

Before watching "The Devil Came From Akasava" (1971) last night, I'd seen two earlier pictures from director Jess Franco--"The Awful Dr. Orloff" (1961), a fun horror outing, and "Venus In Furs" (1968), an extremely surreal, ultimately unfathomable but nevertheless professionally made film--and this may be part of the reason why "Akasava" proved such a disappointment to me. This picture somehow doesn't seem professionally made at all, featuring as it does lazy directing (Franco is inordinately and tiresomely in love with his zoom lens), slipshod editing, and a plot that is often downright confusing. The story here concerns a mineral that is discovered in the fictitious African country of Akasava--one that can turn base metals into gold--and the various criminal parties that vie with the British Secret Service (in the person of the gorgeous Soledad Miranda) and Scotland Yard for possession. Despite the film's title, this is not a horror outing at all, but rather a poor man's secret agent caper that strangely features little action to speak of. The picture is guilty of the worst crime a movie can commit: It is boring. With the exception of some groovy psychedelic music, laced with trippy sitar (non sequitur as the music often is), and some lingering shots of Miranda (who, sadly, like other beautiful actresses such as Francoise Dorleac, Jayne Mansfield and Claudia Jennings, died in a car crash, right after "Akasava" was shot), this film does not offer much. Don't blame the fine folks at Image Entertainment, however. The DVD itself looks great, and offers some excellent subtitling for those of us who don't speak fluent German. But it would take a lot more than a nice-looking DVD to turn this base film into solid gold!

"The Devil Came From Akasava", more an exotic adventure than a spy movie, is one of the slickest-looking Jess Franco movies I've seen so far, though Franco (over)uses the ZOOM function of his cameras so much you'd think he was a kid who had just discovered them and couldn't resist fooling around with them. Nonetheless, his greatest failing - one that can easily be associated with many of his movies - is his inability (or maybe his indifference) to tell a coherent story: I watched this movie twice and I'm still mixed up on more than a few whos, whys and hows. As a an adventure film, "The Devil Came From Akasava" never gets exciting. Still, it's worth a look for the astonishingly beautiful Soledad Miranda, whom Franco films fetishistically, and who can blame him - the woman is sheer perfection. However, the script gives her little to work with, and as a result her character is shallow - as is the entire film. ** out of 4.

"Der Teufel kam aus Akasava" was released after the untimely demise of its star Soledad Miranda. First off: she has made better movies, especially "Vampyros Lesbos" and "She Killed In Ecstasy"! "Der Teufel kam aus Akasava" suffers from the confusing screenplay (said to be based on an Edgar Wallace short story). The MacGuffin for the fight between several parties is a kind of radioactive "energy stone" everyone wants to get hold of. Soledad plays a secret agent in the disguise of a nightclub dancer. Don't ask why she starts her investigation that way. Trusted, experienced actors from the Edgar Wallace series like Siegfried Schürenberg and Horst Tappert are a bit lost here, but (surely not only to me) Soledad Miranda is worth every penny one might spend on the DVD. She performs a dance in the nightclub which is a wonderful demonstration of her beauty, her screen presence and her elegance. Expect nothing more, expect nothing less.