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One evening, Diana (Janine Reynaud) and Regina (Rosanna Yanni),
otherwise known as the Red Lips detective agency/stripper duo, receive a
caller who hands them a sheet of music ... but is killed immeditately
afterwards. Our girls are quick to throw the body into the sea, then
though they start investigating, while taking up a job at a stripjoint as
cover.
Soon, they plunge headfirst into a mystery that involves a mad but dead
scientist who has discovered the secret of life, but his secret seems to
have somehow vanished with his death. And then there's the masonic sect,
the Abilenes, who want to get their hands on the secret, and foreign
agents from pretty much every country. And then there's Bertrand's equally
mad assistant Jacques Maurier (Michel Lemoine), who wants to replicate his
master's experiments, but without success. and then there's of course Andy
(Manuel Velasco), a young man who grows way too attached to the girls to
not be somehow involved in the mystery.
Be that as it may, people start dieing left and right of the Red Lips,
and both girls are repeatedly abducted, and questioned about what they
know about Bertrand's invention - which in fact is pretty little.
In the end though, they find Bertrand's invention hidden away in a
windmill, which can only be opened using the tune on the sheet of music
the girls received int he beginning ... but from here on, everybody turns
traitor, Andy, who is shot, the Abilenes, who are all gunned down by a
rogue Interpol agent, then the agent too wants to cheat the girls out of
the invention, as do inspector McClune (Chris Howland) and inspector
Kramer (Bernabe Barta Barri), who eventually turns out to be Bertrand
himself, who is not dead after all but only tried to fool everybody.
But with ease, our girls overcome all their foes and in the end decide
to use Bertrand's invention for their own ends - to build themselves men
for you-know-what.
Quite obviously, this film was not based on a script but was done more
the make-it-up-as-we-go-along-way, so the plot is full of
inconsistencies, leaps of reason and the like, and it's quite probably the
weakest of Jess Fanco's Aquila trilogy ...
But that doesn't mean the film is all bad: The tongue-in-cheek-approach
to both the genre as such and pulp fixtures of any kind is irresistible,
once you manage to refuse to take the film seriously (which it was never
meant to be), and Janine Reynaud and Rosanna Yanni - as the detective duo
who seems to stumble in and out of the mystery with no real idea of what's
going on and complaining about all the people dieing on them - are nothing
short of hilarious. And then there's of course the consciously cheesy
1960's sets, props and outfits, weird stage performances and intentionally
silly dialogues ... in a way, you just have to love this film !
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