Küss mich, Monster

The follow-up to TWO UNDERCOVER ANGELS (1967) is even less successful than its predecessor but, again, it's enjoyable enough along the way to be generally palatable. The plot of this one is even more nonsensical than that of the first film: as a matter of fact, in the featurette accompanying TWO UNDERCOVER ANGELS on the Blue Underground DVD, Franco himself calls it "surreal" and believes this to have been the reason why KISS ME MONSTER wasn't as popular as the original!

Anyway, here we have sci-fi rather than horror elements - the creation of superhuman beings, which actually makes the film's very title a misnomer, but is also not all that different from the central idea of Franco's earlier Al Pereira adventure ATTACK OF THE ROBOTS (1966)! Besides, the leads themselves - Janine Reynaud and Rosanna Yanni - didn't seem quite as charming here: for one thing, they never get to wear the fetishistic "Red Lips" costume, despite going through an equal array of kitschy dresses throughout; neither are their occasional asides to the audience in the first film retained for the follow-up. Also, their essential roles have been exchanged this time around - in TWO UNDERCOVER ANGELS, Reynaud assumed the damsel-in-distress persona (being, basically, the brains of the outfit) whom blonde bimbo Yanni managed to rescue in the nick of time; the latter is now the one who suffers the indignity of being drugged and abducted, while the former does the bailing-out! The remaining cast members are virtually the same as in TWO UNDERCOVER ANGELS (including another cameo by Franco himself), but mostly playing new roles: Adrian Hoven turns heroic for this one, whereas Michel Lemoine has graduated from monster assistant to mad scientist. Once again, the English-language soundtrack provides some truly cringe-worthy moments - such as the awful dubbing of the songs warbled on guitar by a couple of old Spaniards.

Let us now take a look at the alternate Spanish version: as can be deduced from the previous comments, the film is much better served by the Spanish dialogue. With respect to the editing, it's generally better than in EL CASO DE LAS DOS BELLEZAS: the re-arranging of scenes here is never quite as jarring as in the previous film; there is, however, one notable mistake - with the apparent utilization of a different take in the Spanish variant during the scene in which Reynaud saves Yanni from the villains' clutches, wherein one of these is shot dead by her in the U.S. version but not the Spanish...only to show his lifeless body slumped on the sofa seconds later! Likewise, the alternate music score (again by Fernando Garcia Morcillo) suits the sequel better than the first film, given the lesser emphasis on pop-art references this time around in order to make way for an exploration into ancient Spanish culture - what with a subplot involving a secret society of Klansmen types and the "McGuffin" in the film, the all-important red case, concealed inside a windmill whose key resides in the notes on a sheet of music.

The silly opening sequence to the U.S. version has been dropped (but, then, the use of a different credit sequence for the Spanish print means that an effective transition from black-and-white into color had to be sacrificed as well - since a character in the film is named Vittorio Freda, which I assume to be a nod to Italian cult film-makers Vittorio Cottafavi and Riccardo Freda, it's possible that this gimmick was borrowed from the former's THE HUNDRED HORSEMEN [1964]); gone, too, is an endless and irrelevant go-go number. The new footage includes some additional scenes in which the "Red Lips" duo are seen interacting with the police, as they recount to them the events of the film in flashback - but there's also one murder (with the body inexplicably dumped in the heroines' bedroom) missing from the U.S. version, while the developed relationship in the Spanish print between two secondary characters helps to better delineate their individual loyalties. Besides, in spite of my limited understanding of the Spanish language, I caught a number of witty lines which were changed for the U.S. variant (including an amusing reference to Franco's own recurring creation Dr. Orloff!). The English-language version, however, does feature a few seconds of unconvincing gore not found in the Spanish counterpart.

With regards to the Blue Underground DVD itself, here too the transfer does justice to the film's colorful visuals; the Spanish version, however, wasn't up to the level of EL CASO DE LAS DOS BELLEZAS - for one thing, it seemed to be culled from two different prints, as the Aspect Ratio kept alternating (sometimes in the same scene!) between 1.66:1 and Full-Frame. The Jess Franco interview on the Blue Underground disc wasn't focused on the film proper but rather a rambling piece (albeit fascinating as ever) about various topics - the relationship between psychedelia and drugs and that between censorship and pornography; he even talks at length about his decidedly singular association with Orson Welles.

When one of the first scene of a film contains the line, "Well, let me tell you the story about what happened," you know that you're in for a classic. This is that kind of classic. KISS ME MONSTER is a short, sometimes dull, and always sleazy film that makes you wish there were still drive-ins. How else could this have made it into theaters, except for maybe a few grindhouses.

KISS ME MONSTER is a hodge-podge of cliches, lots of red herrings, and a plot that is practically indescribable. In fact, I'm not sure if there really is a plot, just a series of scenes that are excuses to show the two female leads in different stages of undress. The dialogue is ridiculous (to be fair, this may be the fault of the below-par dubbing), and the characters are mostly unlikable.

But, in its own cynical yet silly way, the film has its charms. The blonde lead is very attractive, and she gives karate-chops, too. Plus, Jesus Franco, as cheap a director as he is, usually accomplishes come good photography. Plus, some of the jazz on the soundtrack is pretty good.

I liked KISS ME MONSTER, but for all the wrong reasons. I laughed out-loud so many times, I kept wondering if it was supposed to be funny. Alas, I don't think so. If anyone can explain how the plot leads to the island with the mad scientist, please let me know. Because I was scratching my head the whole time...

I'm gonna keep this review short and sweet (like the movie).

KISS ME MONSTER is nothing but fun. It's campy, it's surely a product of it's time (the late 1960's Europe), and if you like Eurospy spoofs and Jess Franco, you won't really be disappointed here.

The plot is whacky, (like it's predecessor, "Two Under Cover Angels", aka "Sadist Erotica"), but this movie really isn't about the plot. What makes it fun is the sharp fast paced witty dialog between the two leads. It comes off almost like a sitcom, paced with a jab or joke almost every other line.

So, that's about all there is to it, if you like these kinds of movies, and just want something very light and campy, check it out.

This is an appalling movie by most people's standards, but I totally loved it. A must for anyone with a weakness for camp 60s psychedelia (of the Barbarella/Modesty Blaise/Diabolik variety) this Jess Franco film regales us with the further adventures of the 'Red Lips' gals - Diana (Janine Reynaud) and Regina (Rossana Yanni) who last brightened our lives in the still-more-outrageous Sadisterotica.

Two sexy undercover agents on the trail of a mad doctor and his race of Frankenstein-style monster hunks, Reynaud and Yanni strut about in deliriously over-the-top high-fashion outfits. Bicker back and forth like Edina and Patsy in Absolutely Fabulous. Reduce any unfortunate male who crosses their path to a pool of helpless mush. Oh, and they even find time to perform a transvestite nightclub act on saxophones. Now that's what I call style!

As for the 'plot'(if there is any) I've seen this movie twice and still can't fathom it. Something about a tropical island, animatronic muscle men, whip-wielding lesbians, feathered cabaret outfits, effete and sinister scientists and a mystical secret sect who sit around in black Ku Klux Klan hoods and crimson robes and struggle (vainly, it turns out) to explain what is going on. The continuity is even more abysmal than in most of Franco's oeuvre - so much so that the girls seem to be driving a different car in every shot!

Yet as an introduction to this mad genius and his deranged and surreal style of movie-making, you could do a lot worse than Kiss Me Monster. At least in the version I saw, there's almost none of the lurid blood and sex that was standard in Franco's later work. The one truly nasty moment here is a brief-but-gruesome surgery scene. Otherwise, it's all good, clean, campy, psychedelic fun. Everyone on and offscreen seems be in a drug-induced haze. Well, it WAS the 60s after all!

I am a big Fan of Jess Franco, who is, with over 180 films as a director, quite possibly the most prolific filmmaker alive. There is no doubt that the man's impressive repertoire includes some masterpieces ("Miss Muerte", "Venus In Furs"), many highly entertaining flicks and many stinkers ("Sadomania") alike. While "Küss Mich, Monster" of 1969 is certainly not one of the highlights in Franco's career, it is yet a camp and quite fun to watch little spy-spoof that fans of Franco and amusing kitsch in general should enjoy. Even though the film has a certain macabre humor, this is easily one of the tamest films from this highly prolific exploitation director. Of course, the year is 1969, and it is obvious that the film is not gonna be the sleaze-fest that Franco's 70s and 80s productions were. While I did expect 60s sexploitation, however, the film has some kinky parts, but is overall a pretty harmless little black comedy. Janine Reynaud's bared breasts are the most nudity the viewer will get to see in this film, and the violence is also very tame for Franco standards. Yet, this does in no way lessen the film's value as a likable and amusing (if terribly silly) little comedy that should not leave its viewers bored. This is a sequel to the (supposedly better) "Rote Lippen, Sadisterotica" from the same year. It follows two sexy female spies, Diana (Janine Reynaud) and Regina (Rosanna Yanni), on their investigations, which mainly include flirtations, skimpy outfits, eccentric villains and bizarre situations. This is certainly no highlight of any sort, but camp humor and the sexy female cast make it a worthwhile time-waster. Recommended to my fellow Jess Franco fans.