LastingAware The greatest movie ever!

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Darin One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

Nigel P The quote on the cover of this DVD is taken from the mighty Immoral Tales tome, and describes this film as 'one of the last glorious death throes of European sexploitation.' An apt way of describing possibly Jess Franco's most perverse project – at least, from those I have seen.The plot, as ever, is straightforward – the supernatural Princes Obongo (Ajita Wilson), the Goddess of Unspeakable Lust no less, ensnares Lina Romay in her Candy Coaster wig, playing Alice Brooks together with regular Antonio Mayans, billed as Robert Foster, playing Novio de Alice. To be honest, Novio doesn't get much of a look-in – the story seems really to centre on the smouldering, deadly relationship that occurs between Alice and Obongo.Transsexual actress Wilson, who died five years after this was completed at the age of 37, is described by Franco as a kind of female Christopher Lee – not so much an actress, more a presence. And this is true. She cuts a truly memorable, and at times terrifying, figure – tall and prone to wearing flowing white robes, striding across deserts with her two unnerving 'dog-slaves', or laughing maniacally as she seduces a naked Alice via her dreams.Franco's camera-work, at times restrained and others frantic (the blurring zooms during the many sex scenes against the glare of sunlight is purposefully disorientating) glories in the delights of the Canary Isles, and also wife Romay's (at times shockingly) uninhibited performance, both in and out of a straining pair of hot-pants. Franco turns up briefly as another of the lunatic cyphers he loved playing so much.The results are an acquired taste – what else would you expect? I enjoyed it, as I've enjoyed most of Franco's films. His filmic perversions took on a new and personal level once his native Spain had relaxed their laws on hard-core pornography and I can only admire his unique pursuance of this during this time. Such a singular approach drew him ever further into cult territory, which he seemed to fully embrace for the next 23 years.

lazarillo This movie was made about the time Jess Franco dove headfirst into hardcore porn after they legalized it in his native Spain (although he'd certainly been involved in it before in more liberal countries). It would take a bigger masochist than me to watch too many of Franco's hardcore efforts, but I think it's pretty safe to say the ONLY thing they had going for them was his leading actress/wife, Lina Romay. Romay is not only by far the best actress to ever grace a porn movie, but she was also incredibly uninhibited even by hardcore porn standards. (In one movie I saw she uses her tongue to clean up a mess a guy had left on another actress' backside, and then later she performs oral sex on a tied-up guy with a voraciousness somewhere between Linda Lovelace and the shark from "Jaws"--you could tell the actor was both really turned-on and completely terrified).This movie is not really hardcore porn, nor is it even one of Franco's extremely graphic softcore ficks (which I like to call "Lina Romay and friends go to the gynecologist"). What it actually seems to be is an unsimulated, but non-graphic porno movie--which may strike some as a waste of time, but it certainly is different at least. The cinematography is excellent--it was filmed on Reunion, I think, or one of the Canary Islands. At times Franco seems to be strangely aping fellow Euro-hacks like Jean Rollin (with his shots of crumbling architecture)or Walerian Borozyx (with his lingering close-ups of native fetish objects), but there is nary an out-of-focus zoom shot to be seen. The plot involves a woman (Romay)and her husband who are going to meet a local tribal chieftain, "Princess Obongo" (Ajita Wilson), regarding some kind of real estate deal. The plot quickly becomes inconsequential, however, as the protagonist becomes enmeshed in a series of foreboding, erotic fever dreams about this strange woman that she is unable to awake from. This recurring dream plot is a horrid cliché of course, but whereas other filmmakers only tack it on the end when they have run out of ideas (or want to explain away what has happened earlier, a la a bad TV soap opera), Franco uses it very effectively to transform the whole movie into a genuinely disturbing mixture of dream and reality with characters caught in an erotic, surreal undertow.Still the whole thing wouldn't work without the compelling presence of Lina Romay. She really carries the whole movie. (I don't want to overstate her performance, but if they gave an award for "best performance by an actress who spends 90 percent of the movie butt-naked and the rest in an ill-fitting bikini or impossibly tight short-shorts". . .) African-American, (alleged)transexual Ajita Wilson may or not add to the eroticism too much depending on your taste, but she is sure is scary, and she stalks around with two very creepy, naked "dog people" she keeps on a leash. This may not be anybody's favorite Franco film, but it certainly is watchable at least, which is much more than can be said of most of his 80's films.

Scarecrow-88 The mysterious Princess Obongo(Ajita Wilson)of the Canary Islands, who may or may not be dead, and her erotic(..and perhaps evil)effects on a vacationing couple. Alice(Lina Romay)is a real estate agent and her lover(Antonio Mayans),a writer, are overcome by the passionate dreams featuring Obongo and the film follows their submission to her lustful will. What are Obongo's motives? More importantly, who is she and what does she symbolize/represent? What is her purpose and/or objective for Alice and her lover?While the film is essentially another VERY stylized and evocative porno, Franco uses imagery of voodoo, African statues & tribal objects, along with the stunning locations of the South of the Canary Islands and dream-like sequences between Obongo(mostly relishing her acts towards her quarry)and her prey, to create an otherworldly experience. I don't think one ever truly feels the film is grounded in reality, and I do feel that's what Franco was going for. The film is really about Franco's love affair with the Canary islands and Romay's naked flesh..the director's camera embraces both. I do think the setting, and voodoo imagery layered within, are crucial for the atmosphere produced in this film. I didn't particularly find any of the characters attractive, so the other strengths worked more for me that the multiple sex sequences. Ajita Wilson is quite a presence on screen, if the others in the film do little to assist her. Romay looks rather ridiculous in that wig, but she is basically in the film to move and twist her naked body in a bed, or being seduced by Wilson and her hideous, dog collared entourage.

christopher-underwood There is some confusion as to the correct title, running time and date of this film. On the DVD Jess himself mentions that the film should be 'Macumba' and yet IMDb has a separate listing for this title. Anyway we have what we have and thankfully it's a goodie. If not quite as delirious as was intended it certainly has a life its own and whilst there is barely any plot or even dialogue it takes us with it, back and forth. The fantastic, open-legged performance from Lina Romay in her hottest of hot pants, helps enormously. So too does the majestic/devilish turn from Ajita Wilson. The Canary Isles settings are wonderful and with the film being so well shot it looks fantastic all the time with some real stand out scenes such as Ajita's appearance on the beach, striding along with what looks like a couple of hounds and turns out to be a couple of naked slaves on leashes! There are a lot of sex scenes but thanks to an obvious chemistry between the two leading ladies these are lively and often most erotic. Jess seems aware here that the same sex set- up again and again for a prolonged period does not equal erotic and he allows himself to play with his zoom lens at some surprising moments. There is one particular bed scene where shafts of sunlight fall across the nakedness and he picks this out momentarily causing the flesh to go out of focus. It is little bits and bobs like this throughout the film that give it if not a surreal quality then certainly a unsettling edge, despite all the sun and sex. Excellent.