Watch Two Undercover Angels For Free

the leading man is my tpye

It's fun, it's light, [but] it has a hard time when its tries to get heavy.

What a freaking movie. So many twists and turns. Absolutely intense from start to finish.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

With a director who provokes such extreme reactions as Jess Franco – he's often either revered or reviled – the truth concerning the quality of his output is usually somewhere in the middle. In my view, the appeal of 'Sadist Erotica' drifts closer to the 'disappointing' end of the spectrum. The fault does not lie entirely with Uncle Jess – both the English version of the script and the dubbing itself are pretty appalling, and any attempts at humour are truly squashed by this double-barrelled attack.Comedies are not really Franco's forte. Or perhaps I should simply say that this style does not appeal to me. I would count his latter day 'Red Silk (1999)' as amongst his worst and, I'm sorry to say, this exists in a similar league. Having said that, it is easier to watch this once you have got used to its limitations, which hit you from the very start.'Sadist Erotica' works best as an exercise in nostalgia, a time of unconcerned casual sex and no repercussions. Main players Jeanine Reynault (as Diana) and Rossanna Yani (as Regina) form the Hot Lips detective duo. Two strong-minded, independent women who nevertheless spend most of their time fantasising over men. As detectives, it is difficult to imagine a squad less likely. Their 'kooky' sixties lifestyle is appealing and carefree, and the locations in which they live are rarely less than charming. The story soon becomes lost in the sea of extravagant characters and unengaging performances, but it seems a growing number of attractive models are going missing. The culprits may be hard-to-kill werewolf-like Morpho (Michael Lemoino) and his shady Master (Adrian Hoven).A definite positive is the soundtrack, Jerry van Rooyen's jazzy soundtrack sweeps alongside the eccentric series of events and scatty set-pieces. The whole is a bizarre and vaguely appealing mess of ideas and tones, veering from lazy thriller, tepid horror and badly translated comedy. Whilst more than a sum of its parts, 'Sadist Erotica' is nevertheless not Jess Franco's most engaging production."I really think it's time to bring this farce to an end," to quote one character, is a little harsh perhaps, but a point of view that does provoke a certain sympathy.

This amusing but failed film is starred by two lovely ladies of the 'Red Lips' detective agency , both of whom are on the track of missing people . "Red Lips" are two female agents (Janine Reynaud as Diana and Rosanna Yanni as Regina) attempting to find abducted models and dancers . Two tough as well as scantily dressed detectives , the world's deadliest and most dazzlingly female spies , including their lipstick kiss as their trademark . A pop artist called Klaus (Adrian Hoven) aided by his right-hand , a hirsute werewolf-like assistant, Morpho (Michel Lemoine) , the latter a villain who cruelly kidnaps and murders his victims , result to be the main suspects for the missing and killings . At the end takes place a twisted surprise about the murders . Colorful but mediocre rendition about European spy subgenre , an usual genre during the sixties , not taking any situation seriously ; being realized in similar style to famous strip-cartoon thrillers as Modesty Blaise , Diabolik and Barbarella . This very campy picture contains thrills , action , phantasmagoria , tongue-in-cheek , absurd situations , but being middlingly developed . The picture was made by the time in which Franco directed nice movies such as The sadistic Baron Klaus , Rififi En La Ciudad , Miss Muerte or Diabolic Doctor Z , Necronomicon and Gritos en la Noche , developing a consolidated professionalism , as his career got more and more impoverished in the following years, but his endless creativity enabled him to tackle films in all genres, from "B" horror to erotic films . The main and support cast -with everyone having fun- is passable , but they are really wasted . The best of the interpretation results to be Adrian Hoven in a double role as a cunning villain and sporting an eye patch, including some enjoyable moments . Furthermore , a sympathetic Manolo Otero , he was a Latin lover as well singer , early deceased , who married Eurotrash goddess Pilar Velazquez , in fact here he sings a charming song . And other uncredited actors in brief appearances as Claudia Gravy , Pilar Clemens , Marta Reves , Julio Pérez Tabernero and even writer Vicente Molina Foix . Atmospheric original music by Jerry van Rooyen , including jam session , disco music and a catching leitmotif . Evocative cinematography by Jorge Herrero being filmed on location in Manga Del Mar Menor , Murcia and Andalucia . The motion picture was middlingly directed by Jesus Franco and was followed by a sequel titled ¨Besame Monstruo¨ or ¨Kiss Me Monster¨ shot back to back with similar casting and technical team . Jesus Franco was a Stajanovist filmmaker who realized 203 movies . However , here he doesn't use his trademarks , as he pulls off a traditional narration , without zooms , neither lousy pace . As the picture belongs to Franco's first period in which he made passable flicks . Jesus uses to sign under pseudonym , among the aliases he used, apart from the names Jess Franco or Franco Manera, were Jess Frank, Robert Zimmerman, Frank Hollman, Clifford Brown, David Khune , Toni Falt, James P. Johnson, Charlie Christian, David Tough , among others . Franco used to utilize usual marks such as zooms , nudism , foreground on objects , filmmaking in ¨do-it-yourself effort¨ style or DIY and managing to work extraordinarily quickly , realizing some fun diversions, and a lot of absolute crap . Many pictures had nice photography , full of lights and shades in Orson Welles style , in fact , Franco was direction-assistant in ¨Chimes at midnight¨ and edited ¨El Quijote¨ by Welles . He often used to introduce second , third or fourth versions , including Hardcore or Softcore inserts or sexual stocks many of them played by his muse Lina Romay . In many of the more than 200 films he's directed he has also worked as composer, writer, cinematographer and editor. His first was "We Are 18 Years Old" and the second picture was ¨Gritos en la Noche¨ (1962) , the best of all them , also titled "The Awful Dr. Orlof" , it's followed by various sequels such as El Secreto del Dr. Orloff (1964) aka "The Mistresses of Dr. Jekyll" , " Orloff y el hombre invisible (1970) aka "Dr. Orloff's Invisible Monster" and finally "Faceless" (1987) . He also directed to the great Christopher Lee in 4 films : "The Bloody Judge" , ¨Count Dracula¨, ¨The Blood of Fu Manchu¨ and ¨The castle of Fu Manchu¨ . Jesús's influence has been notable all over Europe . From his huge body of work we can deduce that Jesús Franco is one of the most restless directors of Spanish cinema and often releasing several titles at the same time. Many of his films have had problems in getting released, and others have been made directly for video. More than once his staunchest supporters have found his "new" films to contain much footage from one or more of his older films . Jesús Franco is a survivor in a time when most of his colleagues tried to please the government administration. He broke up with all that and got the independence he was seeking. He always went upstream in an ephemeral industry that fed opportunists and curbed the activity of many professionals . But time doesn't pass in vain, and Jesus' production has diminished since the 90s ; however he went on shooting until his recent death .

Sometimes I feel like I'm repeating myself when it comes to commenting on Jess Franco films, but it's not my fault that the majority of his movies that I've seen suffer from the same two problems: static pacing and barely coherent plotting. Both of these also plague "Two Undercover Angels", though at least there's no crazy ZOOMing in this one. Another problem - for which Franco can't be blamed - is that the English dubbing often sounds as if the dubbers were making up the dialogue on the spot instead of reading a translated script! Despite all that, the film is colorful and fun to watch as a precursor to "Charlie's Angels" (with an added layer of Franco perversion, of course), and both Rosanna Yanni and Janine Reynaud are knockouts. My favorite of the two is Yanni: awesome hair, perfect face, and a very feminine but also very strong and fit body; seeing her working out is almost worth the price of admission alone. ** out of 4.P.S. I must say that my appreciation of Franco went up after watching his DVD interview. He is honest, down-to-earth, and has a sense of humor; he admits that he hates the misleading title "Sadisterotica"!

Made immediately after SUCCUBUS (1967) - one of Franco's most serious and dense efforts - with three of its lead actors (husband and wife team Janine Reynaud and Michel Lemoine and producer Adrian Hoven) and much the same crew, this film and its sequel KISS ME, MONSTER (1967) retained its colorful look and pop-art backdrop but they were its exact opposites in mood and intent (which, ultimately, reflected on their overall quality and significance in the director's vast canon).That's not to say that the individual films are totally worthless: TWO UNDERCOVER ANGELS is a goofy combination of various genres then at their zenith - espionage, comic strips and low-grade horror (Lemoine is made-up as villain Hoven's werewolf assistant!); fun, therefore, but decidedly lightweight...despite the artistic Hoven's modus operandi - painting the fear on the faces of dying women from photographs he takes himself and then hiding the bodies inside sculptures - having probably been inspired by PEEPING TOM (1960) and HOUSE OF WAX (1953) respectively! Typical of such spy fare, the mystery at the centre of the plot emerges as pretty trivial - to say nothing of obvious with respect to Hoven's dual identity; Franco handles the proceedings with some gusto and the film moves at a fairly brisk pace - but, even after two viewings in one day, there's precious little to remember about it (certainly not the unspeakable dubbing of the English-language version featured on the Blue Underground DVD)...apart, that is, from the lovely leading ladies themselves - Reynaud and Rosanna Yanni - who, given their contrasting personalities, make a rather delightful team (and their scanty wardrobe, ranging from the fashionable to the fetishistic, certainly helps!).Knowing that these films were toned-down and altered for the Spanish market, I managed to acquire an unsubtitled copy on DVD-R of those particular versions: in the case of TWO UNDERCOVER ANGELS, it was called EL CASO DE LAS DOS BELLEZAS (THE CASE OF THE TWO BEAUTIES). My friend (and Jess Franco authority) Francesco Cesari who, unlike me, is fluent in the language has said that the film is greatly improved in this variant - and even funnier; well, given the language obstruction, I couldn't really testify to the latter - but I'm glad I watched the English version first, because otherwise the plot would have been impossible to follow! Still, while the differences are considerable, to my eyes they're not really night and day as Francesco suggested and the overall effect was pretty much the same (save, of course, for the more natural-sounding Spanish dubbing!). To begin with, the scores were different - the English version by Jerry Van Rooyen (who also did SUCCUBUS) and the Spanish by Fernando Garcia Morcillo; I personally enjoyed the Van Rooyen one more, while Francesco preferred Morcillo's accompaniment.Some scenes ran longer in the Spanish print, while others have been changed around - but, again, I like the editing of the shorter U.S. version better. For instance, the first three scenes from the English-language print are absurdly jumbled in the Spanish cut: instead of introducing the two leads immediately and then show the museum robbery, followed by Reynaud's presentation of the stolen painting to Adrian Hoven (while still in the "Red Lips" costume from the previous scene), we begin with the robbery, then cut to the apartment scene (where Reynaud is casually dressed) and then she steps in costume again for her meeting with Hoven! In view of the oppressive censorship conditions in Spain during this time, the U.S. version obviously comes across as sexier (notably the writhing of a 'caged' naked girl in a nightclub scene, which was re-shot in the dark for the Spanish market). On the other hand, the soundtrack for the Spanish version is significantly 'cleaner': the U.S. print features a lot of useless background noise which makes dubbing job seem even more fake than it already is! The DVD transfer is pretty nice, and I must say that the quality of the Spanish copy far exceeded my expectations - apart from a couple of brief instances where it froze and skipped. Besides TWO UNDERCOVER ANGELS' theatrical trailer, the Blue Underground disc for this title features yet another informative interview with the prolific and outspoken film-maker in which he discusses the making of the two "Red Lips" films; among other things, he notes that this was the first instance in his career where he shot two films back-to-back while confessing to have taken a liking to the practice immediately!