Megamind To all those who have watched it: I hope you enjoyed it as much as I do.

Monkeywess This is an astonishing documentary that will wring your heart while it bends your mind

Bessie Smyth Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Lucia Ayala It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

mark.waltz While some might call this obviously cheaply made trashy drama an exploitation classic, I became fascinated by its two leading female characters, actors I'd known from my soap opera viewing of the 1980's. When I first saw Meg Myles on my daytime TV screen, she was playing the kind-hearted tavern owner Sid on "The Edge of Night", dispensing advice along with coffee and pie and trying to find love in a violent, mob controlled town. Around the same time, Grayson Hall was playing the scheming Euphemia on "The Edge of Night", the turban wearing matriarch of a tragic Southern family vowing revenge on the wealthy Texan who had allegedly stolen her family fortune. In the middle of the night during the time, I caught Grayson in her Oscar nominated role as the nasty Miss Fellowes in "The Night of the Iguana" where she played a repressed lesbian whose sexuality was only assumed because of her desperation to keep teenage nymphet Sue Lyon "pure". In this drama, made two years prior, Ms. Hall plays Pepe, a sophisticated nightclub manager who is assumed to be a friend of Sapho's as well, although that is never spelled out. Pin-up Meg Myles already had a singing career and some film experience when she was cast in this film which utilizes her busty hour glass figure to great advantage. Only 28 when she made this film, for some reason, she seems nearly 10 years older, so for men to go ga-ga over her and kill to keep her out of other men's arms seems absurd. She's first seen ripping off an ex who had earlier tried to kill her, flying to New York, picking up a man on a plane who sets her up with a singing career at Pepe's. Hall takes her in, dominates her time, introduces her to important people and promotes her as a new singing find. Myles does indeed have a good singing voice, but it's obvious that her tracks were dubbed and that she's lipsincing to loudly piped in recordings, especially in her final song, clad in leather and brandishing a whip. Manipulating the suave Hall into getting hired, she also becomes involved with wealthy Mike Keene and his teenaged son (Bob Yuro) whom the audience is never sure of whether he is in high school (boarding) or college. He looks far older than college age, but the love scenes between Myles and Yuro still make her seem much older. Noila Chapman is great in her few scenes as the aging drunk whom Keene dumps to pursue Myles, and Del Tenney is fabulously bitchy as the obvious gay Paul whom Myles refers to as "Paulette". This reminded me in some ways of the same year's "Walk on the Wild Side" where Barbara Stanwyck played the lesbian owner of a brothel, as well as 1965's "Who Killed Teddy Bear" where Elaine Stritch added even more glamour to her lesbian character who ran a bar just like Hall does here. There were even some elements of the 1933 Stanwyck film "Baby Face", although Myles seems slightly longer in the tooth here. The scene where Yuro and Myles end up at his father's country hideaway (complete with pool and waterfall) does give Myles a chance to show the desperation for a quiet, peaceful life, but her ambitions take over and back to New York it is where her betrayal of both men takes a sudden violent turn. Myles really isn't "Satan in High Heels", but your average bad girl who takes several nasty turns (theft and the urging of one man to kill another), and as much as I like her, find her made to look cheap and vulgar and not really the ideal of any man's sexual fantasy outside the glimpse of her ample bust. I would have liked to have seen more of Hall on screen as she has that great raspy voice presence that made her seem like a fellow stage sister to Stritch and the equally raspy Eileen Heckart, showing that the "Baritone Babes" are often more fascinating than the sexually over-exploited blondes, here represented by the fairly amusing Sabrina as Myles' rival at Pepe's nightclub.

moonspinner55 Petite, buxom Meg Myles is a hoot as carnival dancer Stacey Kane, a girl with ambition who ditches her drug addict husband and takes off for New York City, where a pick-up on the plane results in her getting a singing audition at an uptown club, Pepe's. Stacey boards with Pepe herself (Grayson Hall), a chic butch who puts her newest discovery in a leather get-up complete with riding crop! But trouble brews quickly for Stacey after she turns up the heat with both the club owner and his troubled son--unaware that her deranged husband has finally caught up with her. Competently-made B-movie was considered very risqué for 1962: it has fleeting nudity (very coy), gay and lesbian characters and a promiscuous protagonist. Still, it isn't all raunch. The plot is as top-heavy as most of the girls on display, and the score by Mundell Lowe is a delicious cinematic mix of cocktail lounge, bop and jazz. An entertaining dip into drive-in cinema's gutters. ** from ****

Uriah43 "Stacey Kane" (Meg Miles) is a sexy and talented woman who has been reduced to performing as a stripper at a traveling carnival in California. She is also very selfish and manipulative. So when her ex-husband comes along with $900 dollars and asks her to go away with him she takes the opportunity to steal his money and flies to New York to start a new life. As luck would have it she meets a talent agent on the flight who convinces her to audition as a singer at a high-class nightclub and manages to get hired quite easily. She then becomes the mistress of the owner which results in all kinds of drama and intrigue from that point on. Now rather than reveal any more I can honestly say that I initially didn't expect too much from this film but that I was pleasantly surprised afterward. I especially liked the performances of Grayson Hall (as the nightclub manager "Pepe") and the previously mentioned Meg Miles who was quite attractive as well. That said, I recommend this film for those who might enjoy a movie of this type and I have rated it accordingly. Slightly above average.

Charles Garbage Del Tenney fans MUST see this depiction of early-60's club life in which he plays Paul, a bisexual pianist (!). It's pretty hard to believe that this suave leading man later directed THE HORROR OF PARTY BEACH and I EAT YOUR SKIN. The main character though is Stacey, played to the bitchiest by sexy, husky-voiced Meg Myles. Stacey moves inner-city with her junky boyfriend and gets a job as a burlesque entertainer. There, she gets catty with Pepe (Grayson Hall), her female boss for wanting her own way and becomes involved in a romantic triangle with Pepe's son and husband.The music was by jazz composer, Mundell Lowe who's album TV ACTION JAZZ has become a rare collector's item over the years. One of the songs from that album (a nice version of 'Naked City') as been issued on to CRIME JAZZ, a CD compilation avalible from Rhino. The music in SATAN IN HIGH HEELS is pretty mundane jazzamaspazz but I'm after the the original soundtrack (from Parker Records) just for one great song sung by Meg Myles (in leather clothes and a whip!), 'More Deadly Than the Male'. Also starring in the film is Sabrina, something of a poor man's Jane Mansfield, who sings a really bad number before Stacey's act. I was amazed to know that Sabrina was a real sensation down here in Oz! She was down here regularly starring in television commercials (one was for Amcal oil-cubes!) and was featured in lots of newsreel footage (always holding her poodle, just like Jane) and magazines. I even found reference to her in Peter Doyle's AMAZE YOU FRIENDS, a crime novel set in Sydney during the 1950's.Aside from all these fascinating facts, SATAN IN HIGH HEELS is a fairly enjoyable little film with lots of class. It also remains a decent examination of sleazy, smokey inner-city burlesque clubs which will never again be seen or experieced.