The Devil Came from Akasava

If you´re an admirer of Jess Franco and the unforgettable Soledad Miranda, who died shortly after the production of this film, which has been produced back to back with Vampyros Lesbos and Sie tötete in Ekstase, in which she starred also, this one´s definitely a must-see. Everything in this movie is adorable (besides gorgeous Soledad, who is credited as Susann Korda): the plot (hilarious secret agent/conspiracy stuff), the actors (watch out for Horst Tappert), the production values (you might remember from Vampyros Lesbos) and, of course, the unbelievable groovy 70s soundtrack. It´s got everything you wish from a typical Jess Franco movie. And if you haven´t seen one yet, this is a good one to begin with.

The prolific Spanish Exploitation deity Jess Franco made some of the most famous cult gems in his repertoire of almost 200 films with the gorgeous cult-goddess Soledad Miranda, who tragically died in a car accident at only 27 - an accident which robbed the world of cinema of one of its most stunning beauties. Sadly, the majority of their collaborations were released only after Miranda's death in August 1970. Being a big fan of both Jess Franco and his most beautiful muse, I am always looking forward to seeing one of their collaborations. Their most famous one is probably the brilliantly titled VAMPYROS LESBOS (1970) in which Miranda plays a Lesbian Vampire Countess, others include NACHTS WENN Dracula ERWACHT (COUNT Dracula, 1970) the cast of which also includes Christopher Lee, Klaus Kinski and Herbert Lom, SIE TÖTETE IN EKSTASE (SHE KILLED IN ECSTASY, 1971) and EUGENIE DE SADE (1974). DER TEUFEL KAM AUS AKASAVA aka. THE DEVIL CAME FROM AKASAVA (1971) is probably the most shamelessly nonsensical of their collaborations and yet Soledad alone makes it an absolute must-see for any admirer of beauty.

THE DEVIL CAME FROM AKASAVA seems like a very-low budget, but stylish James Bond rip-off, only that it is a female Bond with exhibitionist tendencies, played by one of the most mesmerizing women ever seen on screen. The sublime Soledad plays a foxy British secret agent who poses as a stripper. She comes to a tropical island in order to solve a bunch of disappearances... without giving too much away I can promise that the 'mysterious' motivation for the disappearances is hilariously nonsensical. The entire film makes hardly any sense, and yet it is incredibly entertaining. Once asked about the reason for film-making, the admitted sleaze-lover Jess Franco stated "showing the female body naked". And many parts of the plot here seem to be an excuse for the stunning Soledad Miranda to take her clothes off (which is more than welcome). The nudity in this film is very tasteful nudity (as opposed to many of Franco's rather pornographic 80s outings); as almost all Franco flicks from the early 70s, this a very stylish and groovy flick with a cool jazzy soundtrack. The rest of the cast includes many familiar faces, such as regular Franco-flick eerie-man Howard Vernon, Paul Muller and Horst Tappert, who is primarily famous in German-speaking countries for his role of the TV-inspector Derrick.

Overall, THE DEVIL CAME FROM AKASAVA is certainly not Franco's masterpiece, but an incredibly entertaining flick that doesn't take itself seriously, and a must-see for the goddess Soledad Miranda alone.

This is a kind of a silly spy spoof like the ones that were big in Europe at the time. Jess Franco did any number of them ("Kiss Me Monster", "The Girl from Rio"). It also might by be loose adaptation of an Edgar Wallace mystery, which were really big in Germany where the film was produced (although more likely it's based on a work of his much less talented son, Bryan Edgar Wallace). The story involves a bunch of characters all chasing after this mineral a murdered professor has discovered that can apparently do everything from waking up patients in narcoleptic comas to turning worthless metals into gold. The mineral is really a "McGuffin" though, in fact, the whole plot is pretty much a McGuffin. The real fun to be had is watching all these bizarre characters crossing and double-crossing each other.

Franco regulars Paul Muller and Howard Vernon are on hand, the latter playing a pretty unconvincing hired assassin. Ewa "Vampyros Lesbos" Stromberg also has a small role, but she keeps her clothes on this time. My favorites though are the lead villains--a husband who is apparently confined to a wheelchair and his prim, matronly wife who wields a mean sword cane! The real reason to watch this movie though can be summed up in two words: Soledad Miranda. Soledad Miranda had what the French (and a a lot non-French pseudointellectual types)called "je ne sais qoi" (basically "I don't know what"). She was very beautiful, standing out even among the many beautiful actresses Franco worked with. She was also talented having made many movies before she started working with Franco. She was always willing to take her clothes off and display her beautiful body, but she was classier and much less unabashedly exhibitionistic than her successor Lina Romay (who probably should have been more "abashed" about doing hardcore porn or letting Franco practically explore her colon with his zoom lens). Maybe it was because she died tragically young. She was always a sexy but ethereal actress whose erotic presence haunted even silly, nonsense movies like this.

As his fans know, Franco himself as director had a certain "je ne sais qoi" with some of his films. (With others though it was more like "je ne sais why the hell I am watching this crap!"). He's especially zoom-happy in this movie, but it actually works pretty well with the frenetic, pop-art style plot. It's not a great movie by a long shot, but the movies Franco did with Soledad Miranda are all pretty special, even the slightest ones like this.

Before watching "The Devil Came From Akasava" (1971) last night, I'd seen two earlier pictures from director Jess Franco--"The Awful Dr. Orloff" (1961), a fun horror outing, and "Venus In Furs" (1968), an extremely surreal, ultimately unfathomable but nevertheless professionally made film--and this may be part of the reason why "Akasava" proved such a disappointment to me. This picture somehow doesn't seem professionally made at all, featuring as it does lazy directing (Franco is inordinately and tiresomely in love with his zoom lens), slipshod editing, and a plot that is often downright confusing. The story here concerns a mineral that is discovered in the fictitious African country of Akasava--one that can turn base metals into gold--and the various criminal parties that vie with the British Secret Service (in the person of the gorgeous Soledad Miranda) and Scotland Yard for possession. Despite the film's title, this is not a horror outing at all, but rather a poor man's secret agent caper that strangely features little action to speak of. The picture is guilty of the worst crime a movie can commit: It is boring. With the exception of some groovy psychedelic music, laced with trippy sitar (non sequitur as the music often is), and some lingering shots of Miranda (who, sadly, like other beautiful actresses such as Francoise Dorleac, Jayne Mansfield and Claudia Jennings, died in a car crash, right after "Akasava" was shot), this film does not offer much. Don't blame the fine folks at Image Entertainment, however. The DVD itself looks great, and offers some excellent subtitling for those of us who don't speak fluent German. But it would take a lot more than a nice-looking DVD to turn this base film into solid gold!

Due to a lack of research on my behalf, I didn't know "The Devil Came from Akasava" was a Krimi instead of the more regular type of sleazy exploitation flick that director Jess Franco usually delivers. No harm done, really, except that (at least for me) a Krimi requires a different type of mental mood to watch. Krimis are films based on books or stories by Edgar Wallace (or by his less talented son Bryan Edgar Wallace) that are entirely produced in Germany but supposedly take place in London, and they are full of crazily implausible twists and dim-witted humor. They were hugely popular - and still quite good - during the late fifties/early sixties, but embarrassingly poor by the end of that same decade already. The notorious Jess Franco does add some fresh elements to the old and outworn Krimi-formula, like exotic locations and shameless nudity, but I regret to say it remains a daft movie.

All my fellow reviewers seem to unanimously agree on one thing, though, namely that lead actress Soledad Miranda is one of the most beautiful women in cinema history and that her role alone is worth seeking out the film. I'm not convinced. She was a natural beauty, yes, and obviously I wouldn't kick her out of my bed. But Mrs. Miranda wasn't exceptionally beautiful or exceptionally talented, and the fact she's so loved is undeniably linked to her unfortunate and tragic death at age 27. Everybody always assumed she was on the verge of a promising international career, but we can never be sure of that, can we? She might also had continued working together with Uncle Jess and ended up in the porno industry.

In "The Devil Came from Akasava", Soledad Miranda depicts an agent from the British Secret Service (sure...) assigned to trace the whereabouts of a stolen mineral and its missing discoverer. The mineral is a unique stone able to turn other materials into gold, but its radiation also instantly kills people, or tuns them into green-faced zombies. The stone and Prof. Forrester went missing in Africa, near Mombasa, and is believed by both the Secret Service and Scotland Yard to be smuggled into England. Agent Jane Morgan (Miranda) is sent over to identify all the naughty people, and - of course - the best way to do so is by performing as an exotic nude dancer in a local bar and willingly sleep with all kinds of perverted males.

Like the older wave of Krimi movies, or even slightly worse, "The Devil Came from Akasava" is a tiring movie, what with all its unnecessary and clichéd plot twists. Villains/suspects turn out to be undercover agents and, vice versa, trustworthy characters turn out to be evil villains. The attempts at humor are also pitiable, especially with poor old Siegfried Schürenberg repeating his same old role of clueless Scotland Yard supervisor. In fact, the highlight of the film are mere details, like an elderly lady who uses her cane like a samurai sword or Franco's old pal Howard "Dr. Orloff" Vernon as an unconvincing hired killer. Franco awarded himself with a cool supportive role, and he's honest enough that his character's sexual advances are rejected several times by Soledad.