Flixer1957 A young doctor experiments with fusing animal and human embryos, which incurs the wrath of the ruling medical board. They humiliate him and banish him; he then goes berserk and kills himself. After a decent interval of mourning, his widow–-played to the sultry hilt by Soledad Miranda–goes all-out for revenge. She's determined to wipe out all those bad doctors–male and female–who did her hubby wrong.Most of the killings involve Miranda using her (considerable) womanly wiles to seduce her victims before slashing or stabbing them. (One scene, however, would have us believe that it only takes 20 seconds to smother someone to death.) Once the slaying starts–about 30 minutes into the movie–things move along at a rapid clip. (Possibly a bad choice of words considering what our Black Widow does to her male victims afterward.) In any case, this rampage gives us many shots of Miranda's beautiful bod. Female viewers, meanwhile, can enjoy the scenes of Jess Franco shirtless and Howard Vernon in the buff. And everybody can amuse themselves by counting the spelling errors in the English subtitles, or relaxing to a music score better suited to a nightclub than a horror movie.The tired old "crime does not pay" ending involves some of the worst deductive reasoning I've heard on-screen. It's also oddly prophetic, considering what happened to Soledad Miranda in real life.

vandino1 When a non-talent hack like Jess Franco admits he has little respect for his own work then why bother trying to argue with him? This pile of amateur-hour sleaze is a blatant rip-off of "The Bride Wore Black' written, directed and musically scored on what appears to be a drunken bender. The revenge plot of 'Black' couldn't be simpler, yet Franco can't hold it together. The dead-by-suicide doctor that sets off the vengeance is left in his bed by his maddened wife for God knows how long without the slightest change from decomposition (unless we are to believe that the wife killed off all the other characters in a few hours---nope, just directorial stupidity) and to cap it off the wife doesn't notify anybody about his death, yet the other doctors seem to know. She goes off on a killing rampage, yet the doctor-targets don't tell the authorities what they know about the wife's designs on them--in fact some of them simply allow her to kill them without resistance. Right. For instance, the obvious producers-need-nudity-to-sell-the-film lesbian scene concludes with Killer Korda simply putting an air-filled pillow over her victim, who promptly suffocates without the least struggle. Franco's directorial lethargy is so complete he has the last doctor-victim simply slump back in a chair and allow himself to be cut to pieces. And the topper is an abominably amateurish death-by-car-wreck finish---we're supposed to believe our "heroine" would die from a soft slide down an embankment that would barely cause a ripple to the shock absorbers? Oh, and there's a music score of sitar-laden late-60's go-go schlock that is slathered over the film without thought or point, except to prove Franco's incompetence is complete. Of course there are viewers who will love this film because there are always empty heads who enjoy any film they have eye contact with. What is really a stream of urine appears as a shaft of gold to these non-discriminating types who find "enjoyable" and "stylish" all the stupidities and sleazy goings-on, and sadly describe this dreck as "better than usual from Franco." That they would spend enough time watching Franco's body of work to be able to make such judgments is a pathetic admission of too much time on their hands and too little taste.

jriddle73 A naively idealistic scientist engaged in fetal research he hopes will offer tremendous benefits for mankind instead finds himself scandalized, his work condemned as ethically abominable (how's that for a timely premise?). Distraught, he eventually kills himself, and his horrified lover (Soledad Miranda), psychologically broken by it all, sets out for revenge against his persecutors--one by one, she hunts them down, seduces them, and kills them.The film's most astonishing sequence features beautiful Soledad consumed by grief to the point of insanity--as she confronts the horror of it all, Franco zooms into her face and seems to zoom into her soul. We see her thoughts and memories of her previously happy life, and their effect on her. We witness the point at which the madness finally consumes her--we almost experience it ourselves. A breathtaking sequence, and far from the film's only moment of brilliance.Like all Francos, the movie is, unfortunately, plagued by obvious budgetary shortcomings--the final suicidal plunge, in a car, off a cliff was reduced to a rough drive down a somewhat steep embankment. In such cases, the viewer just has to let his imagination more properly fill in the details.

Ky-D Frano is on again/off again more than probably any director in history. His days with Soledad Miranda were arguably his best, as can be seen in this tasty tale of revenge.Miranda plays a recently widowed woman who seeks out revenge upon the people she blames for her husband's suicide. She first seduces them and then kills them. The preying mantis metaphor is slapped on a little thick, as the later victims know what's going to happen to them, yet do nothing to stop it.The film is played out in a dreamy kind of pacing. Little sound and dialogue, distanced shots, slow camera movements; it's like a lethargic daze echoing the detachment of the lead character. Franco takes his time unfolding the seduction and revenge, and he displays more flair for cinema than many would believe him capable of. The film is far from flawless though; the story is never complex, acting is either too subtle or over stated and the dialogue is pretty simple. Also, the character motivations lack strength all around, which robs the film of most all emotion.Of the MANY Franco films to choose form, I would suggest this one for a view, especially to those unfamiliar with the director.7/10