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Brothel Madame Arminda (Lina Romay) is sent to prison by a traitor
among her ranks (Esther Moser), but broken free only a few days later by a
gang unknown to her. This gang is made up of the men of Radeck (Vítor
Mendes), an incredibly rich man whose daughter Martine (Martine Stedil) -
a rebellious young and beautiful girl trying to distance herself from her
establishment father and living life according to her own rules - has been
kidnapped, and Radeck thinks by Arminda ... which she denies, naturally,
so Radeck's assistant (Jess Franco) tortures the truth out of her. Turns
out, without knowing who she is, Arminda picked her up one day, made her
her lover ... and eventually drugged her to make her work in her brothel.
Now while Martine has forgotten everything about her past thanks to the
drugs and thinks she's the slave of Arminda who has to do her every
bidding, one of Arminda's guests (Eric Falk) does recognize her, and tells
Arminda's main competitor Ebenholz (Sigan Sharaf) about Martine - who
promptly has her kidnapped and blackmails Radeck for five million Dollars
for her safe return. Now Radeck is willing to pay, but at the handover,
something goes terribly wrong, and two of Ebenholz's associates (Ronald
Weiss, Peggy Markoff) are shot dead ... and somehow Martine ends up dead
as well. But where are the 5 millions? Arminda tries to torture this out
of Ebenholz, but she apparently doesn't know (and dies for it), so Radeck
and company can't torture it out of Arminda, obviously ... so Radeck has
his girl (Aida Vargas) free Arminda, just when Arminda pieces the puzzle
together to find the final clue to the money - but when she comes to
collect, she's shot dead by Radeck's gang. And the money? There never was
any money, just old newspapers ... so why Radeck has gone through all
these troubles (since he didn't love his daughter in the first place) is
at anybody's guess. Swedish Nympho Slaves is most
certainly not one of the best (but neither one of the worst) films of
prolific director Jess Franco, but it's typical for Franco's mid-seventies
output for Swiss producer Erwin C. Dietrich, and it's one of his more
entertaining films of that era. His trademarks are there, mostly, a very
random plot made up from pulp elements leading to nowhere in particular
and women getting naked all the time, no matter whether it's appropriate
or not, but also interesting camerawork, an eye for interesting
architecture, and an overall tongue-in-cheek approach. Now to be totally
honest, if people want to dismiss this movie as pure sexploitation, it
would be hard to argue against it (especially in comparison to other much
better Jess Franco erotica), but fans of the director will find quite a
few things to love about this one.
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