Le Bel Étalon

Like most seventies softcore the film that put Joan Collins back on the map contains far more talk than rutting; and like anything thinking it's being really with-it it now looks far more dated than anything made in the fifties; compounded by the constant pounding disco music on the soundtrack.

As it meanders along it's garrulous way you also have plenty of time to marvel at the fact such a sorry collection of fashion disasters got so much more sex than any other generation before or since.

I can't pretend otherwise, I've always loved this film and it's one of my guilty pleasures for a rainy afternoon, or more likely a night in with a few drinks.

It's astoundingly dreary looking: apart from Joan's soft focus entrance there is precious little opulence on display. The film is low-lit and rather seedy looking. The opening credits sequence remarkably switches from day to night and back again! But right from the start, when the incredibly beautiful Felicity departs after a night with Tony, and then the sequence of him dressing and going out to the sound of the irresistible theme tune (watch Oliver Tobias trying to say "you handsome bastard" tro himself as quietly as possible!), this is a classic quotealong movie. Some of the one liners are great: "they ask for comics and a bag of sweets you give 'em penthouse and amyl nitrate" and best of all "there are two sorts of women in this world. The first sort pick you up and screw you, the second sort pick your brains and screw you up." It's rubbish of course, but however good it may or may not be its about the disco scene and shagging so it will always be seen in that way.

Whatever happened to the director? Oliver Tobias is rather underused in the film it must be said: he doesn't have much to do and is rather overshadowed by super-bitch Fontaine. But the soundtrack is great, and the film is fun. And the scenes with Tony and his pals are the best in the movie. Those three deserved a series! But why does Ben return the video to Fontaine? Surely he'll need it as evidence?

although the movie was not as explicit as the book, it had it's moments.

joan collins plays the part of the bitchy hedonistic adultering wife( a role she embodied in Dynasty as Alexis for almost 9 years!!) to the tee. she has all the moves, the look and the body language. she plays the part of the manipulative, dominating and captivating 40 yr old woman in her prime to such perfection,that it leaves oliver tobias, to play his role as the "stud" with all the enthusiam one could muster for such a role(not much to do but perform on call and bonk the remaining women in the cast).

walter gotell ( the head of the kgb in bond flicks) is wasted in what could have been a meaty role.

emma jacobs does her best as she transcends from an innocent girl who beds the "stud"(after she meets him the first time and finds out he is "doing" her step mom)to one who uses sex as revenge(when she rejects his amorous advances during his visit to her mother's house) and is then promptly not shown until the end of the movie. sad, because it could have been penned into a longer and more interesting role.

the rest of the movie is pretty slow as it follows the tacky night life of the 70's in london, especially the end where after a new year's party, tony blake is happy to be out of the night ife( i would have thought it would be from too much sex)

A part not to be missed is the "orgy scene" in the swimming pool...that was quite a scene!!!!

only worth a watch for joan collins fans who want to catch a glimpse of the early shades of Alexis Carrington Colby..

"The Stud" and its sequel "The B*tch" were based upon novels by Jackie Collins and starred her older sister Joan. (As the third Collins sister, Natasha, remarked, "One of my sisters writes trash, the other acts in it"). Despite being almost universally panned by the critics, both films were huge commercial successes, the most successful British films of the seventies apart from the Bond franchise. There is, however, an explanation for this apparent contradiction. The films are little more than soft-core porn, and in an age when porn, whether hard- or soft-core, was much less easily available than it is today, any film involving nudity and sex scenes was virtually guaranteed to be good box-office.

In "The Stud" Joan plays Fontaine Khaled, the British wife of a wealthy Arab businessman. She was to play the same character, by then a divorcee, again in "The B*tch". Her husband Benjamin is played by Walter Gotell, best remembered as General Gogol in the Bond films. Fontaine owns a London nightclub and is having an affair with the club manager, Tony. The late seventies were the golden age of disco music and the producers hoped that the film could be a British "Saturday Night Fever", a film which had appeared the previous year. Many scenes are set in the club, and we hear a lot of disco songs on the soundtrack.

Although Fontaine makes it clear that Tony owes his position more to his ability to satisfy her sexual demands than to any managerial ability, he loses interest in her and begins a relationship with her young stepdaughter Alexandra, Benjamin's daughter by a previous marriage. This explosive situation becomes yet more so when a videotape emerges of Fontaine and Tony having sex in a lift.

These films may have been successful in their time, but most people today would side with the critics rather than the audiences who flocked to see them. "The Stud" and "The B*tch" helped to revive Joan Collins's career by reinventing her as a middle-aged sex symbol, but (along with "Dynasty" in which her character Alexis Carrington was essentially Fontaine Khaled toned down to meet the more puritanical standards of prime-time television) they also helped fix the idea of her in the public mind as a one-trick pony who could play sultry, promiscuous femmes fatales and little else. That idea would be an injustice, as she had a much wider range than that, but she seems fated to go down in history as a film star best remembered for two of her worst films.

Of the two films, "The Stud" is probably the better. It has something closer to a coherent plot, centred upon (as well as the sexual elements) Tony's attempts to raise the finance to open his own club. Collins makes more of an attempt at acting than she was to do in "The B*tch", where her performance is marked by a total lack of sincerity. Of her supporting actors, Gotell and Oliver Tobias as Tony at least make an effort and seem to know what they are doing, something which cannot always be said of her co-stars in the sequel.

"The Stud" shares with its successor a general sense of incompetence and pretentious tackiness. It may be the better of the two, but the difference is not a great one, and to say that a film is not quite as bad as "The B*tch" is to damn it with the faintest of praise. 3/10

A goof. The glamour model Felicity Buirski, who has a minor role in the film, refers to herself as "Felicity", but according to the cast list the name of her character is "Deborah".

I enjoyed this movie, Joan Collins is the only actress that could pull it off. She has the ability to play these roles without letting it become silly, or needlessly pornographic. She has the charisma of a true golden era movie star, but her roles are daring, unique and push the envelope. She brings an energy that is so youthful to her roles; which is great in these movies and Dynasty where she is at an age where most women are no longer seen at all, never the less sexy and beautiful. She shows that there is life after you are mature, and she makes it look fun. The messages in the film are interesting; both the men and the women have their own angles on each other and what is happening, neither is really a victim. Infidelity and promiscuity are seen in all socioeconomic levels in society. From peasants to kings sex is happening and has happened. There are also consequences for each character but they happen and life goes on. Some people are put off by the sexuality of the film but Fontaine is a jets disco owner in the seventies, it fits the character.