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Amando de Ossorio
María Elena Arpón
Frankie Avalon and George Nader (that guy from "The Robot Monster") are a couple of wise-cracking, swingin' secret agents. Their enemy is Shirley Eaton as Su-Muru, who plans to remove all of the men who are currently in power and replace them with her army of women, most of who are shown in skimpy (for 1967) bikinis or mini skirts, and who can all perform complex tasks such as break a man's neck with their thighs. Avalon and Nader make "friends" with several members of Su-Maru's army, then invade with the local army and kill the rest of them.Written by
Robert Stanfield <firstname.lastname@example.org>
The Million Eyes of Sumuru inspired riot grrrl musician Lois Maffeo to adopt Bikini Kill as a band name. She and her friend Margaret Doherty used the name for a one-off performance where they donned faux fur punk cave girl costumes. Tobi Vail liked the name and appropriated it for the iconic punk group after Maffeo settled on the band name Cradle Robbers. See more »
THE MILLION EYES OF SU-MURU is one of the millions of Harry Alan Towers-produced movies made during the 1960s that were usually filmed in various exotic locations; Hong Kong was the choice for this one. Based on a Sax Rohmer story, this is a film which serves to emulate the popularity of the Christopher Lee-starring Fu Manchu movies which were being made at the same time, except with an all-female twist.
Sadly, it's a bit of a boring affair, a definite case of style over substance and a film which feels rather insipid and tame when watched with modern eyes. Shirley Eaton (GOLDFINGER) is the titular foe, who sends her all-woman army out to kill various world leaders in a bid for world domination. Only two men can stop her: the wooden George Nader (ROBOT MONSTER) and the equally wooden singer-turned-actor Frankie Avalon.
What follows is light, fluffy, and predictable, and this feels much like the Italian Bond rip-offs that flooded cinemas during the late '60s. There are lots of beautiful Euro starlets wandering around showing acres of flesh, a typically bizarre cameo role for Klaus Kinski, and Wilfrid Hyde-White propping up the scenery as he did in many a Towers-produced film. Fans of '60s kitsch might find something to enjoy here, but those who require more substance should look elsewhere. A Jess Franco-helmed sequel, THE GIRL FROM RIO, followed.
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