In what I suspect was a fairly routine quickie by the uncle of cinematic sleaze, Spanish Director Jess Franco, what story-line there is is stretched and pummeled by much frolicking and graphic, elongated, sexual activity. But at least there is the distraction of a naked Lina Romay (AKA Candy Coster) wearing a spangly wig and being treated, quite willingly, as a dog ... called Sultana. Romay, in a second alias Rosa Almirall, is also the assistant director, as is co-star Antonia Mayans. You know exactly the kind of experience you are in for from the opening credits, featuring sand sculptures on a beach, depicting various female bodies in sexual positions (these creations also close the film).
Eugenie is played by Katja Bienart, who was 14 years old at the time. It is a confident performance, but controversial even then, given her age. She is lusted after by Mayans (billed as Robert Foster) as Ron, whom she doesn't entirely reject, despite her purpose in the story to rescue her sister from a sex ring (this plot only ever hovers in the background and is never given prominence).
The plot keeps Bienart away from the many sex-scenes, and sadly Romay/Coster is often on the periphery (the intimate scene between her and Mayans, with her howling like a dog, is bizarre, even by Franco's standards). The majority of the running time, which seems a lot longer than its 88 minutes is made of a lightly focussed erotica, which is either 'dream-like' or extremely dull, depending on your mood.
Portugal provides a stunning set of locations, as always masterfully shot by Franco. Of especial note, once again, is the egg box-like Xanadu building by Ricardo Boefill, which previously featured in 'She Killed in Ecstasy (1971)' and 'Countess Perverse (1974).'
As with every Franco film I have seen - and it is quite a few now - I can't imagine why I like these 'Wicked Memoirs' so much. It appeals despite itself. Even the ending is perfunctory and very abrupt. And Gerhard Heinz's musical score exists constantly in the background as an almost endless suite, only very occasionally suiting the mood of any particular scene.
Eugenie is played by Katja Bienart, who was 14 years old at the time. It is a confident performance, but controversial even then, given her age. She is lusted after by Mayans (billed as Robert Foster) as Ron, whom she doesn't entirely reject, despite her purpose in the story to rescue her sister from a sex ring (this plot only ever hovers in the background and is never given prominence).
The plot keeps Bienart away from the many sex-scenes, and sadly Romay/Coster is often on the periphery (the intimate scene between her and Mayans, with her howling like a dog, is bizarre, even by Franco's standards). The majority of the running time, which seems a lot longer than its 88 minutes is made of a lightly focussed erotica, which is either 'dream-like' or extremely dull, depending on your mood.
Portugal provides a stunning set of locations, as always masterfully shot by Franco. Of especial note, once again, is the egg box-like Xanadu building by Ricardo Boefill, which previously featured in 'She Killed in Ecstasy (1971)' and 'Countess Perverse (1974).'
As with every Franco film I have seen - and it is quite a few now - I can't imagine why I like these 'Wicked Memoirs' so much. It appeals despite itself. Even the ending is perfunctory and very abrupt. And Gerhard Heinz's musical score exists constantly in the background as an almost endless suite, only very occasionally suiting the mood of any particular scene.
