La Déesse des Sables

!!!THIS REVIEW CONTAINS PLOT SPOILERS!!!

This is one of the few well-known Hammer films I had never seen, until a few days ago. I had very low expectations and so, sat down to watch this with no preconceived ideas of real enjoyment; just of ticking another Hammer film off on my head as "seen".

The Vengeance of She is oddly enjoyable if totally trashy. The script goes in a vaguely similar line to the original 1965 She. It has minimal characterisation, has no inner continuity and the actions and deeds of some of the characters are totally anachronistic (e.g an Arab who seems steeped in Western magick rites and philosophy).

By the end I found myself totally disinterested if Carol (Olinka Berova) is the reincarnation of Ayesha or not. I was unmoved by the loss/love of Killikrates (John Richardson)and his dilemma of being immortal without his soul-mate. The actual events lost momentum for me even before reaching the Lost City.

So why watch this film? There is an ethereal beauty to this film. Other reviewers have mentioned the beauty of the lovely Ms Berova and she is stunning, so that is enough said about that. But the ethereal beauty is beyond just her looks alone.

The film has some wonderful images: Berova walking down a long winding road in a white fur coat, the desert sequence, the entry to Kuma, etc. The music score by Mario Nascimbene, including the song title (sung by Bob Fields), uses a haunting but very simple melody heard throughout the film in various guises. For the scenes set in the "modern world" it is played as a jazz miniature with solo saxophone. In Kuma, it becomes a chant with an ostinato figure derived from the main melody. I find this very effective.

The ethereality of these features combine to produce something unexpected. This film has stayed with me. Shallow, disjointed and incongruous as the whole thing is, there seems to be something of a 60s acid trip side-effect from this film that I cannot explain. The notions of exoticism; love unrequited or lost; beauty and decay; and glamorous adventure that are not really explicit (due to ineptitude in narrative and performances) in this film are what will now stay with me.

Perhaps in five years time or more, I will have a notion to return to this film... and be totally disappointed, wondering where the effect of this film, that stayed with me in the following days, actually came from. Yet, it is there and for this I give it a tentative recommendation and a very over-generous rating.

A young drop dead gorgeous blond woman named Carol(played by Olinka Berova-real name Olga Schoberová) is drawn to the lost city of Kuma and King Killikrates believing herself to be the reincarnation of the long dead queen goddess of Kuma--Ayesha(she who must be obeyed).

This is hardly a great film epic and doesn't compare favorably with SHE(1965)--the film which this one is meant as a sequel too. But aside from all of that I did find this film to be an entertaining and enjoyable ride. It managed to hold my interest even though some of it is quite simple, cheesy and silly. Nonetheless I did enjoy it.

Now if you approach it expecting a film at the same level as SHE(1965), then you will be disappointed. This film lacks the star power and depth of story that SHE(1965) had. Here we have a number of relatively unknown actors although John Richardson does return in his role.

As the cover/poster of the film probably tells you, it cannot be taken completely seriously. It is full of silly sets, utterly bad taste skimpy dresses, bad acting and funny horror effects. The story, of course is something anyone could come up with in 20 minutes. Most enjoyable if you like "bad" films.

Despite the title She Who Must Be Obeyed spends much more time receiving it than dishing it out in the unusual Hammer production which unlike most of their exotic melodramas has a contemporary setting and left the relatively cosy surroundings in the woodlands around Bray for the more exotic setting of Almeria in Andalusia, where troubled Scandinavian Olinka Berova - usually incognito in big hair and a very small skirt - disrupts a gathering of eurotrash on board a luxury yacht.

Scripted by Peter O'Donnell of Modesty Blaise fame it benefits from attractive photography by location specialist Wolfgang Suschitzky; while Hammer shows its once customary enterprising choice of composer in its mournful saxophone solo by Tubby Hughes.

Hammer made a number of non horror films. Rather a bad choice. Everything about this film is second rate. The acting,the script,the sets. Actors having to spout nonsense dialogue. This might be of little consequence if the film were not so totally boring.