Brigitte (Nadine Pascal) and Céline (Lina Romay) are two strippers who
got busted for ... well, doing their job, but now they are released before
their time by senator Conally (Olivier Mathot) - to become undercover
strippers at the nightclub of the Forbes (Joelle Le Quément, Yul
Sanders), who kidnap celebrities to sell them to rich customers as sex
slaves on the side. brigitte knows next to nothing about their undercover
assignment, and instead she starts an affair with Conally, while Céline
gathers more and more evidence. Ultimately though, the Forbes find out
someone is spying on them, and figure it has to be Brigitte because of her
close ties with Conally, so they kill her. Céline on the other hand is
forced into submission with Mrs Forbes' hypnotic opal, and locked up with
one of the celebs to be sold into sex slavery. However, she manages to
free the girl and escape herself, helped by her friend, gay barman Milton
(Mel Rodrigo), who hides her with his communist biker friends living in
some caves (really!) nearby. However, Céline persuades Milton to help her
free Brigitte, but the mission fails when she gets busted, locked up and
tortured. Milton on the other hand fetches his friends, and ultimately,
it's a gang of communist bikers that busts a white slave ring - even when
the papers the next day credit everything to the police. Well, at least
Céline gets Milton in the end, who considers leaving his gay lifestyle
behind for her sake. Certainly not one of Jess Franco's better
films, this however beautifully embodies what his movies are about:
Delirious collections of pulp mainstays peppered with heavy doses of
nudity and sex, where a total disregard for continuity is outbalanced by a
tongue-in-cheek approach, with inventively staged but sloppily executed
striptease sequences and torture scenes thrown into the mix every now and
again. So why is this not one of Jess Franco's better films? For one
because he is not an action director, and this film features quite a few
action scenes, secondly because his trademark unusual camerawork is pretty
much absent here, and finally because his heart quite simply doesn't seem
to be in this movie, it's pretty much Jess Franco by-the-numbers, without
the fun - hardly surprising though given the incredible number of films he
directed in the late 1970's/early 1980's back to back.
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