The Vengeance of She

Three years after their reasonably entertaining version of H. Rider Haggard's classic adventure 'She', Hammer Studios produced a sequel, 'The Vengeance of She'. Lacking the star power of the original (Ursula Andress, Peter Cushing and Bernard Cribbens are noticeable by their absence), the film is a dreary retread of events from the earlier movie, albeit with the roles reversed: this time around, it is the immortal Killikrates (John Richardson) who is pining for his long-dead love Ayeesha.

Convincing Killikrates that his soul-mate has finally been reborn in the form of a stunning European blonde named Carol (Olinka Berova), power-hungry occultist Men-Hari (Derek Godfrey) strikes a deal with the lovelorn leader: if he can successfully lure Carol to the lost African city of Kuma (using his powerful black magic), then he must be granted permission to pass through the sacred blue flame that would bring him immortality (and give him a pop at taking over the world!).

Compelled to travel to Africa by the voices in her head, the confused Carol is joined on her journey by Philip (Edward Judd), a concerned psychiatrist who is determined to ensure the beautiful young woman's safety.

On arriving at Kuma, and discovering the real reasons behind Carol's mysterious calling, Philip sets out to stop the poor girl from being brainwashed into believing she is Ayeesha, and prevent Men-hari from achieving his nefarious goal.

'The Vengeance of She' starts promisingly enough, with the sex-kittenish, mini-skirted Berova (think along the lines of Bardot, and you won't be far wrong) making quite an impression as she walks through the French countryside (accompanied by a haunting theme song), but it soon descends into a messy mish-mash of boring mystical mumbo-jumbo, lacklustre adventure, and unconvincing melodrama.

Director Cliff Owen wisely makes the most of Berova's awesome physical attributes to try and distract his audience, having her slip into clingy white robes that give viewers a tantalising glimpse of her marvellous milky puddings (please note: my workmate Phil wanted me to use that phrase in one of my comments), but even with endless gratuitous lingering shots of her semi-clad form, the film still winds up as something of a snooze-fest.

Despite the title She Who Must Be Obeyed spends much more time receiving it than dishing it out in the unusual Hammer production which unlike most of their exotic melodramas has a contemporary setting and left the relatively cosy surroundings in the woodlands around Bray for the more exotic setting of Almeria in Andalusia, where troubled Scandinavian Olinka Berova - usually incognito in big hair and a very small skirt - disrupts a gathering of eurotrash on board a luxury yacht.

Scripted by Peter O'Donnell of Modesty Blaise fame it benefits from attractive photography by location specialist Wolfgang Suschitzky; while Hammer shows its once customary enterprising choice of composer in its mournful saxophone solo by Tubby Hughes.

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.

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.

A young drop dead gorgeous blond woman named Carol(played by Olinka Berova-real name Olga Schoberová) is drawn to the lost city of Kuma and King Killikrates believing herself to be the reincarnation of the long dead queen goddess of Kuma--Ayesha(she who must be obeyed).

This is hardly a great film epic and doesn't compare favorably with SHE(1965)--the film which this one is meant as a sequel too. But aside from all of that I did find this film to be an entertaining and enjoyable ride. It managed to hold my interest even though some of it is quite simple, cheesy and silly. Nonetheless I did enjoy it.

Now if you approach it expecting a film at the same level as SHE(1965), then you will be disappointed. This film lacks the star power and depth of story that SHE(1965) had. Here we have a number of relatively unknown actors although John Richardson does return in his role.