She Demons

Shipwrecked on an island during a hurricane, four survivors - spoilt heiress Jerrie (Irish McCalla), explorer Fred Maklin (Tod Griffin), and crew members Sammy Ching (Victor Sen Yung) and Kris Kumana (Charles Opunui) - discover a tribe of sexy native women who are being used in experiments by evil Nazi concentration camp doctor Karl 'The Butcher' Osler (Rudolph Anders).

In his attempts to restore the beauty of his disfigured wife Mona (Leni Tana), Osler has transformed numerous native women into vicious 'she demons', retaining their hot bods but wiping their minds and giving them hideous fizzogs in the process. When Jerrie, captured by the Nazis, spurns Osler's amorous advances, she too is scheduled to become a she demon...

This hokey '50s drive-in flick boasts all sorts of exploitation goodness: Nazis are always a winner, as are voluptuous native girls (played here by The Diane Nellis Dancers, who perform a hilariously bad dance routine). The 'she demons' themselves are memorably daft, with manky skin, oversized teeth, and claws. Also adding to the trashy vibe are a couple of scenes of torture, with a native babe flogged to death, and Fred and Sammy shackled and forced to walk in circles until exhausted.

Unfortunately, even with a short running time of 77 minutes, the lack of any real plot development means that the film does start to drag after a while, although the finalé, as our heroes escape from the Nazi lair while lava floods the island, is quite fun.

4.5 out of 10, rounded up to 5 for the terrible stunt doubles who look nothing like the actors they are standing in for, and for McCalla's giraffe-like neck.

Richard E. Cunha made few good low budget B movies. This movie otherwise could have been utterly forgettable, isn't due to his ability to select actors who could act, and his ability to keep the story going without falling apart.

While not at the success level of Roger Corman's B movies, Cunha's movies has similar quality that keeps them from being an utter schlock. This movie is about the same level of story as Roger Corman's "Wasp Woman". Both focus' on intrigue of beautiful woman turning into a monster.

This movie stayed with me since I saw it as a child because of the transformance scene of the above mentioned beautiful woman. Three characters that told most of the stories to this movie, namely the blond girl, the main character, and the Nazi captain could all act. This kept the story together and didn't go the way of other similarly budgeted movies.

They could have inserted another 10 minutes of skin exposures by the girls, and tormenting of the girl that was on the operating table, and the movie could have been twice as good, but if they did that they might have blown the budget or ran overtime against the double feature movie that these movies were usually shown in theaters.

One of the hidden classic amongst the truly low budget movies from the '50s. If you're a fan of Roger Corman's earlier movies, this movie might be for you.

1957's "She Demons" marked the the second in a quartet of infamous horror titles from resident Astor Pictures director Richard E. Cunha, boasting an increased budget of $65,000 to complete a double bill with his debut "Giant from the Unknown." This is the picture that heralded the duo still to come, not a lone Conquistador for a menace but beautiful busty women wearing monstrous faces and little else threatening the weak stomachs of male characters on screen while parading in skimpy outfits for the benefit of masculine audience members. For those who admired Allison Hayes in her sultry dance of voodoo in "The Disembodied," there are a multitude of shapely bodies engaged in some kind of movement, some perfectly normal looking, others more savage due to their fanged appearance, resulting from experiments being conducted on a Pacific island stronghold for aging Nazis still devoted to the cause, the volcanic finale shot at the ubiquitous Bronson Caverns. The big cheese is Rudolph Anders as Col. Karl Osler, whose wife has been disfigured by the heat of molten lava, attempting to find a cure from the faces of female subjects kidnapped from neighboring islands. This hoary, old fashioned plot dragged out to 77 minutes is a rehash of Bela Lugosi's devoted husbands from Monogram items like "The Corpse Vanishes" or "Voodoo Man," while predating an identical European trend begun with "Eyes Without a Face," adding to the decade's mix "Atom Age Vampire," Jess Franco's "The Awful Dr. Orlof" (and various follow ups), Peter Cushing's "Corruption," and Claude Mulot's "The Blood Rose." Osler isn't played as much of a threat, but as described he sounds very much like the feared Josef Mengele, well versed in the art of transmutation in seeking to create the perfect Aryan specimen, Rudolph Anders repeating this low key approach in his next role as Boris Karloff's best friend in "Frankenstein - 1970," in which Karloff's scarred and twisted visage is the result of Nazi emasculation (Anders had smaller parts in "Phantom from Space" and "The Snow Creature"). Of greater marquee value for Cunha is casting Irish McCalla for the lead, television's Sheena, Queen of the Jungle, starting out a spoiled socialite before settling down to become a woman of action moving through more jungle hijinks (her last feature was playing a nurse in 1960's "Hands of a Stranger"). Little known Tod Griffin offers up masculine heroics, Charlie Chan veteran Victor Sen Yung provides comic relief, and reliable Gene Roth is again one of the villains, though dispatched too early to make much impression. More outrageous than "Giant from the Unknown," "She Demons" would be matched in pulchritude by the director's next double bill, "Missile to the Moon" and "Frankenstein's Daughter," before returning behind the camera as cinematographer, finally eking out a living as proprietor of an Oceanside video store in California.

Fans of badfilm will want to check this one out. This schlock horror-comedy-burlesque hybrid doesn't take itself too seriously, although hero Tod Griffin appears to be taking himself too seriously. It is fascinating to hear his deep and earnest voice, resonating as it does from his skinny chest, as his skinny arms gesticulate.

For counter-point to our under-whelming and over-acting hero, we are treated to the spectacular physical endowments of Irish McCalla, whose performance does not resemble thespian-ism in even the most theoretical sense.

The most likable of our 3 heroes is comic-relief Sammy, played ably by Victor Sen Young, a veteran of many B-films and a former screen son of Charlie Chan. Shortly after this film, Young took the role of Hop Sing in Bonanza, playing a very distasteful stereotype...Young fares better in this film, as there is only one obligatory Chinese joke...the rest being non-denominational wise-cracks and general goofiness. He is a an early version of the Hipster Doofus...alongside Maynard G Krebs and Jughead Jones, paving the way for Cosmo Kramer.

The Mad Nazi Scientist Commandant is fun to watch...very evil, very nuts, very lecherous...and the actor appears to have been drunk during most of the filming...good stuff all around.

There's some fun cheap monster make-up, and for good measure it's worn by a bunch of burlesque dancers wearing grass skirts and bikini tops. Got to love that. The burlesque dancers are billed in the credits as the Diane Nellis dancers, and most of them thankfully are not wearing the monster make-up, so we see their lovely faces as well as their lovely bodies.

Now here's a couple questions for the scholars: Who were the Diane Nellis Dancers and what became of them? Who was Diane Nellis and what became of her? They probably had interesting lives, all of them.

The dancers play some kind of strange pale-skinned primitive women, and they perform a sleazy nightclub type 'jungle dance.' This dance lasts for several minutes and is the highlight of the film...this type of cheesecake stuff is incredibly tame compared to what our 12-year-old children can watch on MTV. The dance is a good thing because pretty girls in bikini tops and grass skirts will always be needed by our world.

I have seen plenty of schlock-horror films from this era, and this is the only one I know of that contains an actual cheese-cake burlesque club type dance. It is this innovation to the genre, plus Irish McCalla's endowments and her very brief semi-striptease (a tease striptease, if you will) that she performs early in the pic, that distinguish this film. For surely the infusion of burlesque elements into this epic foreshadows the nudie-horror films that came in the 1960's.

If you get a kick out of Plan 9 and other 50's B classics you are looking in the right spot.

How can you lose when you combine a mad scientist, scantily clad dancing girls, a volcano, Nazis with monster animal girls(stil scantily clad)? Did I mention the planes doing bombing runs, cheesy dialogue, stock characters and goofy storyline?

Yup some campy gold here. Go into it with appropriate expectations if you enjoy this genre(?) and I expect you will enjoy it.