Dieu pardonne, elles jamais!

This sequel for the 1966 trash classic "Deadlier than the male" is quite a disappointment compared with the original spy movie. There are good bad movies and there are bad bad movies. This one's medium bad. The film has a great storyline (in exploitation terms), but suffers from being quite unfunny and kind of lustless in acting and directing. If you expect something like an "Austin Powers" flick back from the original sixties, you will be disappointed. The production design and the costumes are uninspired and look as if they'd belong to a cheap british early-seventies TV series. Even those female robots have a boring look and could have been designed much, much spicier. The movie lacks highlights like the great Robert Morley's hammy appearances, provided only in the first half of the movie. And this first half is a bore, anyway, especially due to the unfunny comic relief of Drummond's sidekick. The second half runs better, with more action and more funny scenes in it. The best scenes belong to Daliah Lavi as the bad girl, while pretty Sydne Rome (as the good girl) is absolutely colorless. Poor production, poor fun -at least in this case. Watching this movie is not a complete waste of time, but it comes close to that. So you are recommended to watch "deadlier than the male" for a third time instead.

If you don't think that this incarnation of Bulldog Drummond is very much like the many older ones (starring the likes of Ronald Colman, Ron Randall or John Howard, then you are right! Instead of being a man of adventure that gets sucked into solving crimes, Dick Johnson's version of Drummond is much more like a James Bond character--fighting and bedding very sexy ladies and trying to stop some big baddie who is bent on international wickedness instead of just murder or robbery. It's best just to forget about the earlier Drummonds and treat this one like an all-new character.

During the course of the film, various acts of sabotage are made on the SST-1 project (the 'SST' was an early name for what became the Concord project in the UK and France). In each case, a pretty woman is behind the attack. If this sounds a bit familiar, this is because it's much like the plot of Johnson's other Drummond flick, "Deadlier Than a Male". However, Drummond is not alone in investigating the sabotage- -a kooky and sexy lady assistant (similar to Britt Ekland in "The Man With the Golden Gun") is there as well. Also WHY and HOW these ladies work are a bit different from the previous film...as they are robotic in their actions and loyalty.

While this film is a decent spy-type film, it's less original than the last. Additionally, the film relies on two bad clichés ALSO found in the last film--the megalomaniac baddie who, instead of just killing Drummond, keeps him around supposedly to give him a chance to kill him AND all women (even robotic ones) find Drummond so sexy that they cannot control themselves. It's a shame, as the film is pretty good otherwise. All this plus the robotic aspect make this one far, far inferior than Johnson's prior effort.

If you are tired of all the Politically Correct "no fun" offerings that Hollywood dishes out these days and yearn for some good clean fun from a bygone era when "Womyn" were just happy to be "Chicks" and men were having fun like no tomorrow (their grins say it all, lucky bastards!;-), and would like to indulge in an escapist fantasy with some naughtiness to it on a guys' night in, then you may find this film quite enjoyable. Besides which guy doesn't like watching "hot chicks" in short minis being seduced with kisses that turn their heads, even if they are robot "chicks"? This is obviously from the era when Jim Kirk was doing the same to exotically dressed "Hot Chicks" on TV in the original Star Trek series, and this film doesn't do such a bad job with the same naughtiness factor to it.

And if you like this one then try its predecessor film. The "Chicks" in these two films put todays' sour looking super-models and centerfolds to shame. The Movie industry just doesn't have the same level of beauty in their female actors anymore as they try to relate too much to a female audience to the great disappointment of the male audience.

If like me you fall asleep during chick flicks and would love to watch a movie made just for guys then enjoy this one.

Even though the comparisons with James Bond are inevitable, I don't think they are fair. I enjoy the Bond movies and however similar, the two Hugh Drummond films from the 60s have their own, unique style. They're played a little more for humor and lack some of the big budget special effects. But fans of the better known Bond films should find something to enjoy in either of the lesser known films Deadlier Than the Male or Some Girls Do.

I can just about sum up what I like about Some Girls Do by using what I wrote for Deadlier Than the Male as a guide. However, if push comes to shove, I actually prefer Some Girls Do to the first film in the series. The 60s feel, Richard Johnson's Drummond, the villainous James Villers, scenes stealers like Ronnie Stevens and Robert Morley, terrific locations, and the implausible yet wonderful gadgets and traps, including a small army of female automatons, are all a delight. As with the first movie, my absolute favorite moments are those with the two female killers. Daliah Lavi and Beba Loncar make the movie worth checking out just to see them. Lavi, in particular, is one of those women that seem to have only existed in the 60s that I enjoy watching so much.

It's too bad they only made two of these films. I would have liked to see this series continued.

Campier, less successful sequel to DEADLIER THAN THE MALE (1967) – basically the only department where this surpasses the original is in the title track! Incidentally, it makes no attempt to be a direct continuation of the earlier film – with, for instance, the figures of the boss and his secretary nowhere to be seen: in fact, here Bulldog Drummond (a returning but not-as-effective Richard Johnson) seems to have gone up in the world as he now has a female assistant of his own and, when we first see him, he is sun-bathing (and ditching a host of Hungarian girls!?) in the company of a debuting Sydne Rome.

The latter's amiably klutzy character recalls those played by Stella Stevens and Sharon Tate in the first and fourth entries in the comparable and contemporaneous "Matt Helm" series with Dean Martin. Indeed, the whole film seems to be closer to the spoofy spirit of that franchise (attributable perhaps to the fact that Hammer's Jimmy Sangster did not collaborate to the script this time around) – which, unlike the Drummond duo, had copied the gadget-craze that were a fixture of the prototypical James Bond extravaganzas.

More illogically, not only does the supposedly-dead arch-criminal Carl Peterson turn up again here (albeit played by a different, younger actor i.e. James Villiers) but the two do not even recognize one another immediately (besides, Peterson had merely dual identities in the first film whereas he has three here and is a master of disguise besides!). That said, it does attempt to duplicate elements that had worked first time out, namely Peterson's two principal hench-girls working as a team, except that Daliah Lavi (who had appeared in the first and best Matt Helm adventure THE SILENCERS {1966}) and Beba Loncar are not nearly as intriguing as Elke Sommer and Sylva Koscina and, what is more, there is little chemistry between them!

Perhaps realizing this, the script singled out not one but two other girls to share the spotlight with them (by the way, most of Peterson's girls are actually robots – which raises uncomfortable parallels to Mario Bava's dispiriting DR. GOLDFOOT AND THE GIRL BOMB {1966]): one is Yutte Stensgard (soon to take the leading role in Hammer's maligned – and Sangster-directed – LUST FOR A VAMPIRE {1971}) and Vanessa Howard (who more or less duplicates the Suzanna Leigh role from the first film, in that she improbably hitches up with the hero at the finale)…with Rome (who proves no nitwit but rather a triple agent!) going all of a sudden for Drummond's comic-relief partner (describing his car as "positively psychedelic" and eliciting a "Cool, baby!" response from Drummond at a party!). By the way, Robert Morley also puts in an irrelevant cameo as a flamboyant cooking instructing named "Miss Mary" (complete with golden earring)!

The 'McGuffin' in this case is a supersonic plane, whose infra-sound is capable of killing but also accelerates the movement of, say, a speed-boat during a race – big deal! Drummond, in fact, is made to fly one but subsequently has to bail out (after an attack by another aircraft!) – only to find the rip-cord of his parachute had also been pulled beforehand! As for the climax, in spite of all the ongoing action at the villain's fortress (which again includes a couple of non-entities for male underlings), Peterson's come-uppance is down to that infallible – and completely baffling – in-built self-destructing switch in his unwieldy controlling device!