Jung, blond und tödlich

Sequel to Hammer's version of She is actually more interesting than that film, at least to me. I loved the 1935 version of H. Rider Haggard's She. But the Hammer version did little for me. I found it very dull with only Ursula Andress' beauty to recommend it. This sequel is hardly a masterpiece but has enough going for it that it surpasses the previous film. The opening with the corny song playing while hitchhiking Carol (Olga Schoberova) is cornered by a rapist then saved by something mysterious is a moody start to things. The film keeps up that mood as the girl swims out to a yacht and hops aboard. She's being compelled towards Kuma, the lost city from the last film. Turns out Ayesha (again, from She) is attempting to possess the girl. As they make it closer to Kuma, the movie becomes a lot less interesting.

Olga Schoberova is beautiful but brings little to the part other than that. The scenes of her having nightmares screaming out "Ayeeeesha!" will give most viewers giggle fits. Still, she's not as wooden as Andress. Derek Godfrey is the bad guy but there's nothing bad about those awesome eyebrows. Edward Judd and John Richardson are solid. The great Andre Morrell has a small part as a man who helps Carol. Like She, this is pretty dry stuff. Worth watching for a nice score, atmospheric touches, and for Olga's beauty.

First the good part of the film. The beginning of the movie was beautifully and sharply filmed with an excellent view of the French countryside going towards Monaco with a highway cutting through. The opening theme song was haunting, especially with the supernaturally lovely Czech star Olinka Berova. When you see this miniskirted vision with the flowing blonde hair and long legs walking down the highway with her suitcase, you can't help but be hooked, especially with the aforementioned cinematography and theme music. Unless you saw the predecessor-film, SHE, with Ursula Andress(also called Undress) you wouldn't know what the film was about. The makers assumed that everyone who saw the film also saw SHE. Well, the vast majority of viewers did not and thought the movie's plot was unintelligible. QED Only Olinka Berova's ethereal beauty kept the film from being a total failure and is worth seeing for that alone. Judging by the pre-release publicity, the movie was expected to make Olinka into a major star. Unfortunately for all of us, it did not. Most of the films she made later were behind the Iron Curtain. She later married and divorced an American movieman. Today, she reportedly lives in New York under the name Olga Calley. Her retirement from film is a loss for us all. Update: Olga Calley has moved back to Prague.

!!!THIS REVIEW CONTAINS PLOT SPOILERS!!!

This is one of the few well-known Hammer films I had never seen, until a few days ago. I had very low expectations and so, sat down to watch this with no preconceived ideas of real enjoyment; just of ticking another Hammer film off on my head as "seen".

The Vengeance of She is oddly enjoyable if totally trashy. The script goes in a vaguely similar line to the original 1965 She. It has minimal characterisation, has no inner continuity and the actions and deeds of some of the characters are totally anachronistic (e.g an Arab who seems steeped in Western magick rites and philosophy).

By the end I found myself totally disinterested if Carol (Olinka Berova) is the reincarnation of Ayesha or not. I was unmoved by the loss/love of Killikrates (John Richardson)and his dilemma of being immortal without his soul-mate. The actual events lost momentum for me even before reaching the Lost City.

So why watch this film? There is an ethereal beauty to this film. Other reviewers have mentioned the beauty of the lovely Ms Berova and she is stunning, so that is enough said about that. But the ethereal beauty is beyond just her looks alone.

The film has some wonderful images: Berova walking down a long winding road in a white fur coat, the desert sequence, the entry to Kuma, etc. The music score by Mario Nascimbene, including the song title (sung by Bob Fields), uses a haunting but very simple melody heard throughout the film in various guises. For the scenes set in the "modern world" it is played as a jazz miniature with solo saxophone. In Kuma, it becomes a chant with an ostinato figure derived from the main melody. I find this very effective.

The ethereality of these features combine to produce something unexpected. This film has stayed with me. Shallow, disjointed and incongruous as the whole thing is, there seems to be something of a 60s acid trip side-effect from this film that I cannot explain. The notions of exoticism; love unrequited or lost; beauty and decay; and glamorous adventure that are not really explicit (due to ineptitude in narrative and performances) in this film are what will now stay with me.

Perhaps in five years time or more, I will have a notion to return to this film... and be totally disappointed, wondering where the effect of this film, that stayed with me in the following days, actually came from. Yet, it is there and for this I give it a tentative recommendation and a very over-generous rating.

*POSSIBLE SPOILER*

A beautiful young Scandanavian girl called Carol (Olinka Berova) is lured to the city of Kuma by the immortal Killikrates (John Richardson) and Men-Hari (Derek Godfrey) who convinces Killikrates that she is the reincarnation of his lost love, Queen Ayesha, who died years ago. Killikrates intends to give Carol the secret of immortality so that he can live with her forever and restore her power over the city. Meanwhile, he has also promised Men-Hari the secret for bringing him back his old lover.

The basic premise provides a fairly adequate sequel to Hammer's successful adaptation of H. Rider Haggard's 'She' (1965), which was something of a curates egg in itself (see separate review). The main problem here is that the Peter O' Donnell script is unconvincing in that one ludicrous situation hardly runs smoothly into another. There is also some unbelievably inept dialogue like when the heroes are chasing after a desert peasant who is on horseback in a Land Rover but they still have difficulty keeping up with him. I bet the British Motor Corporation would have been horrified because that wouldn't have been good publicity for their versatile off road vehicles! With the exception of Edward Judd's performance as the English doctor who is in love with Carol, a good cast is working well below it's capabilities, even though it includes Andre Morell who was superb as Dr Watson in Hammer's 'The Hound Of The Baskervilles' (1959). The film is made watchable by the direction of Cliff Owen who displays his skill at narrative pacing (his work partly redeemed the otherwise unfunny Morecombe & Wise vehicle 'That Riviera Touch'). In summary this film failed to repeat the success of it's predecessor.

Hammer made a number of non horror films. Rather a bad choice. Everything about this film is second rate. The acting,the script,the sets. Actors having to spout nonsense dialogue. This might be of little consequence if the film were not so totally boring.