Superwoman in detective guise, the inimitable Stacey solves family murder caper involving adultery and a large inheritance. The lovely Stacey (played by ex Playboy pin-up Anne Randall), is hired by wealthy matriarch Marjorie Bennett to unravel web of lies and deceit spun by her entourage of sleazy servants and randy relatives, all vying for inheritance honours. Stacey and her sidekick (Alan Landers) soon discover an elaborate (and equally confusing) plot to frame certain members of the family for the murder of a blackmailing minion.
Tacky dialogue, shaky photography, disjointed editing, overbearing music and frequent over-dubbed scene fillers, are mildly compensated by lots (and lots more) bare flesh, coupled with the odd stroke of humour (Stacey's pyjama top reads "Fondle With Care", and is promptly torn off by her eager male companion, revealing a Superman blouse). The cast is diverse with veterans John Alderman and James Westmoreland whilst Stewart Moss appears uncredited in a major supporting role.
Fans of the sexploitation genre will be more than a little disappointed, despite the vast array of motifs, as this film plays like a montage of fast cars and wild women, without continuity or an effective climax and resolution. Randall is aptly cast and gets good support from Anitra Ford and Cristina Raines, especially if you mute the volume. Whilst it's easy to be enamoured by the lusty Randall, you're likely to be left dazed and confused by the last hour and twenty. But that's okay, you can just watch her again ... "Stacey", that is ...
Tacky dialogue, shaky photography, disjointed editing, overbearing music and frequent over-dubbed scene fillers, are mildly compensated by lots (and lots more) bare flesh, coupled with the odd stroke of humour (Stacey's pyjama top reads "Fondle With Care", and is promptly torn off by her eager male companion, revealing a Superman blouse). The cast is diverse with veterans John Alderman and James Westmoreland whilst Stewart Moss appears uncredited in a major supporting role.
Fans of the sexploitation genre will be more than a little disappointed, despite the vast array of motifs, as this film plays like a montage of fast cars and wild women, without continuity or an effective climax and resolution. Randall is aptly cast and gets good support from Anitra Ford and Cristina Raines, especially if you mute the volume. Whilst it's easy to be enamoured by the lusty Randall, you're likely to be left dazed and confused by the last hour and twenty. But that's okay, you can just watch her again ... "Stacey", that is ...