Sie tötete in Ekstase

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.

Jesus Franco has made so many movies that it's almost inevitable that he will occasionally get one right. This is one of those movies where his bizarro and repetitive plots, his pan-and-zoom-happy cinematography, and his obtrusive jazz score all manage to gel for a pretty dumb but thoroughly enjoyable movie. It helps, of course, that this was one of only four films he made with the incredible Soledad Miranda before her untimely death in the early 1970's. There's no denying that Franco's regular collaborator (and wife), Lina Romay, was a very sexy actress in her prime and has become something of a legend in her own right, but she is a pale shadow of Soledad Miranda, who was if anything even more beautiful and had a kind of class and talent that none of Franco's later actresses could ever hope to emulate.

The plot is about as simple as you get--this is yet another Franco knock-off of "The Bride Wore Black" with Miranda avenging herself on the scientists who drove her husband to suicide by censuring his morally dubious embryo research. Of course, this involves getting them all in bed (including the one woman, who is naturally a lesbian). This makes for some interesting (and sometimes disturbing) scenes--a nude woman being smothered with a see-through plastic throw pillow, a single trickle of blood running down Miranda's bare thigh after she stabs one poor guy in the back (while he is apparently licking the lint from her belly button), and, perhaps most disturbing of all, Howard Vernon, Dr. Orloff himself, in the altogether(shudder!). Like any good Franco movie this film is deliciously perverse. Miranda's murderous campaign against these hapless souls is every bit as morally questionable as her husbands grisly experiments. She manages to achieve an uneasy combination of touchingly sympathetic, voraciously sexy, and frighteningly psychotic. Her last two victims (one of who is Franco himself) realize exactly who she is and know she is going to kill them, but they can't resist her anymore than a male praying mantis can resist the female who is going to rip him apart and eat him.

Is this is perfect movie? Well, no. The whole premise is completely ridiculous and it has the most unconvincing fatal car crash in cinema history near the end. But it sure is a lot of fun to watch.

Jess Franco is not known for telling a great story, but he sure knows how to show flesh and he shows it very well in She Killed in Ecstasy.

Dr Johnson is happily married to a beautiful woman (Soledad Miranda). He is conducting experiments on human embryos that he keeps jars in his lab. When he shows his findings to a medical board, they are outraged by what he is doing. They call it blasphemy and immoral. They strip him of his medical license and destroy his lab. This drives him over the edge and he commits suicide. His wife distressed decides to take revenge against the doctors who ruined his life and killed him. She speaks to her dead husband's corpse and promises to get those who did him wrong. She seduces all the doctors including a woman to get her revenge. She finds they are not as moral as they appear to be.

She Killed in Ecstasy is Jess Franco's follow-up to Vampyros Lesbos and features many of the same people who worked on Lesbos, including the late Soledad Miranda as Ms. Johnson. She is breathtakingly seductive as the woman who will do anything to avenge her husband's death. The film has a faster pace than Franco's usual offerings and not to hard to take, as the film does not run to long, plus Soledad's body is easy on the eyes.

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).

If ever there was a film director who epitomized the term Eurotrash it surely is Jesus Franco. His films are a curious mix of art and trash. Some of them are terrible but some of them are great. She Killed in Ecstasy is undoubtedly one of the latter. I can think of very few film-makers who treat plot-dynamics with such extreme indifference as Franco, so, really there is no point whatsoever detailing the storyline. All you need to know is that it is unashamedly unrealistic and absurd with plot-holes so enormous that it is entirely pointless taking them even slightly seriously. Like Franco's other best films such as Eugenie, Vampyros Lesbos or A Virgin Among the Living Dead, this film relies on a combination of eroticism, mild horror, surreal imagery, some visual flair, astonishing music and an iconic female lead. Similar to those other films, this movie is, to put it mildly, not for everyone.

Like the majority of his films, this movie has been produced on a minuscule budget, and it shows. But while Franco cannot escape from the cheap and rushed approach, impinged upon him by budgetary constrains, it is the things that the film gets right that are so remarkable. First off, that soundtrack. Wow. Very similar to the score for Vampyros Lesbos, the music here is extraordinary. Composed and performed by Manfred Hübler and Sigi Schwab, it's a highly infectious upbeat lounge classic that defies description. I don't know if Franco spent a disproportionately large slice of his budgets on his music scores but if he did then the gamble paid off, as the soundtracks to his best early 70's movies are pure gold and have helped make these little movies timeless. A very similar thing could be said about She Killed in Ecstasy's other trump card – Soledad Miranda. Honestly, I cannot think of anyone else like her. On paper she wasn't given a great deal to do in her Franco collaborations but I have rarely seen an actress with as much screen presence; she's frankly mesmerising. Despite the artificiality of these films, Soledad is never less than convincing. And in this film she is possibly at her absolute peak. She owns the picture. And Franco lovingly films her. Despite the abundant nudity and eroticism in her scenes it NEVER feels gratuitous with Soledad. Her presence is almost ethereal at times. I don't know if this has something to do with the real-life tragedy of her early death but, in any case, she is a treasure to be appreciated and her appearance in the handful of cult films she made with Franco is a testament to a screen presence that is equally beautiful, erotic, mysterious, vulnerable and confident. The other cast members are serviceable at best, although Howard Vernon is always kind of fun. But special mention must go to Horst Tappert as the police inspector, in all my years of watching films involving ineffectual policemen in pursuit of serial killers, I have never seen a more hopeless and hilariously unconcerned law enforcer. It looked suspiciously likely that he prepared for this particular investigation by smoking industrial quantities of marijuana.

Negative aspects of the movie? Well, despite the soundtrack, the presence of Soledad and the nice visual touches, She Killed in Ecstasy suffers from one of the most common faults to be found in Franco's output – the pacing. His films never exactly move along at a fast tempo and this one is no different. His filming style seems to favour editing together LONG single takes, rather than a series of shorter edits. This results in some scenes seeming to go on far too long and the film drags at times despite it's short running time. One unusual result of this is when these long, fairly uneventful scenes are combined with the completely contrasting upbeat soundtrack. It makes for a pretty disorientating effect, watching a slow scene to a soundtrack you just can't help tapping your feet along to. It certainly is unique and, along with the presence of Soledad, makes these slow sections not just bearable but, for the most part, hypnotically enjoyable.

This little cult item is definite proof that back in the day Jess Franco was making some films that offered something completely different in a good way. This is a classic of the sexploitation genre that I wholeheartedly recommend to fans of European cult cinema and the wonderful beauty that is Soledad Miranda.