This film had all the elements of a film gone wrong:an international cast,standard heist plot,Euro pop/jazz soundtrack,ham handed action and Jayne Mansfield. Could any film project have been more predestined to be awful?I was expecting so much worse. Imagine the surprise of discovering how much fun this movie was with all of it's sorry bits working together in some sort of obtuse harmony.The dialog is over the top outrageous. Check these three prizes just from the trailer:"Crackers, it's just mad money"...."You are rude dirty and ugly. We do not cater to rude,dirty,ugly men. Get out."Or better yet: Madame Benoit:"Where did you get this stuff? It's dishwater." Bartender: "It's the prunes, Madame.Since Socialism they don't let the peasants crush them with their feet any more. It impairs the flavor." Madame Benoit: "It's still dishwater."And those are just a few of a beginning to end feast of howlers. How could one not love dialog like this ? It's so absurd it's almost genius.To think Arthur Miller worked so hard on "The Misfits".I will have to watch the film again just to catch all the gems.And yet: Jayne Mansfield was never again more natural, seeming to have dispensed with the "Divoon" Marilyn parody and almost playing it straight. It could be the dubbing that made her seem more part of an ensemble rather than a running gag. Someone else dubbed her voice.It works and the dubbing is very well done for a 60s Euro film, everything is in harmony.It's an awful film on so many levels, but consistently awful from plot to soundtrack, to dialog. It's a package deal that works on all those levels because of it's awfulness. It's what makes "Dog Eat Dog" fun.The cast is interesting and watchable, the heavy breathing dialog worthy of John Waters, the euro artiness of it gives it an air of sophistication, even legitimacy that was probably never intended.An accident of a film: accidentally entertaining. One of those "so bad it's good" films. Perfect for a double bill with Elizabeth Taylor's "The Driver's Seat".Such a surprise to find it so entertaining as I was definitely expecting to feel depressed after watching Jayne Mansfield in it,as I did with "Las Vegas Hillbillies", "The Fat Spy" and "Single Room Furnished". Maybe this one was Jayne's last great film. Like Marilyn's "The Misfits".Would definitely watch it again.Not a waste of time at all. Definitely worth seeing.

In one of her last films Jayne Mansfield probably signed on to do this film for the price of a ticket to Europe to film Dog Eat Dog on a nice plush Mediterranean island in Yugoslavia. Other than a tax write off I can't see any other reason for appearing in this trash.Jayne's the moll of gangster Ivor Salter who has just pulled off a robbery of US currency traded by tourists for European denominations and has further attempted to dump partner Cameron Mitchell. Mitchell gets tossed off a cliff, but he lives and is out for revenge.They all wind up fleeing the authorities on some resort island where the guests and management of the hotel are all a bit flaky, but not flaky enough to not want a cut of the loot, or all of the loot. Then people start getting very dead.I'm curious about the reaction to the film, people seem either to think this is great avant garde cinema or like me they think it trash. I can't see any great entertainment value here. Not even color cinematography which is a must in the Mediterranean.I'm wondering why Werner Peters was dubbed, his thick Teutonic accent is part of his persona. Normally playing Nazis, Peters here is a musician and companion to the crazy lady who runs the hotel. Why he wasn't speaking in his normal accent is beyond me. He speaks a concise English in other and better films.In fact everybody here has appeared in something way much better than Dog Eat Dog.

This film begins with Jayne Mansfield rolling about in bed with money all over her. This seems to go on and on and on, as the only reason for the scene is to see this starlet in various states of undress. The film doesn't even pretend to be anything other than an exploitation film at the beginning--and it's obvious they only two things going for the film are hidden under Ms. Mansfield's towel.This is the story, believe it or not, of "Mr. and Mrs. Smithopolous" staying in a resort in the Mediterranean. Of course these are aliases, as it's Mansfield and her boyfriend. While she rolls in the dough, her man is busy laughing like a hyena while he's killing off his partner in crime. It seems that they have just robbed a shipment of old US dollars that are being returned to the States to be burned and Mansfield's beau doesn't want to split it with his partner. Eventually, the three end up on a supposedly deserted island--which turns out to have several people waiting. There, they wait until the coast clears...and one by one, people in this group start dying off mysteriously.The plot and action is VERY claustrophobic, as they spend almost all the film on this tiny island and this is bad because the actors are left trying to support the weight of the film. And, considering how bad the actors are, this is a chore they simply aren't up to. Cameron Mitchell basically spends the movie threatening and screaming while Ms. Mansfield does a great imitation of a brain-damaged bimbo (inexplicably, she claimed in real life to be a genius--this film will surely erase all doubts as to her intelligence or lack thereof).A skimpy plot and lousy acting--it's pretty obvious that this is a grade-C project from start to finish. Why some of the reviewers here on IMDb scored this one so high is beyond me. Stupid and dull.

What we have here, if you can believe it, is a chimera of film noir, early Russ Meyer, and a Ten Little Indians adaptation.The plot is verging on parody in its simplicity. Two crooks and a floozy (Jayne Mansfield), somewhere in the eastern Med, steal a million dollars (yes a million dollars exactly!) from a navy vessel transporting used $1000(?!) bills to be destroyed. The robbery isn't shown, which is all to the good really, as I don't really think there was a Peckinpah type amongst the four guys apparently at the helm. In point of fact though it's never the robbery that's interesting is it? That's why I hate heist movies that concentrate on the plan and the safe-cracking, the interesting bit is always the squabbling over the loot.The crooks end up on a sailing boat on the way to a deserted island which houses a disused palatial brothel. They pick up a couple of greedy stragglers on the way (the eavesdropping hotelier Livio and his incest-fixated yet frigid sister). On the island a motor boat has been stashed somewhere for the getaway, but Corbett (the crook who has the gun) doesn't know where it is, nor where the petrol is hidden.Anyway the brothel has a woman and her manservant in residence, these two they broke the mould after making. The manservant is a cod-philosopher gypsy-talking henchman type, whilst the woman is an elderly ex-madame who has returned to the island "in order to die". She thinks she is the Empress of the island and is always talking about the Emperor, whoever that might be, she is mentally fragile to say the least.It becomes a Ten Little Indians style mêlée after the cash goes missing. People are dropping like flies, and we don't know why. Corbett sums up the mood perfectly: "Where da party at? No dough, enough stiffs for a graveyard, no way out, nobody knows who's next and nobody knows who's doin' it" It's a nice movie to look at because it's set on an Aegean island, with a pretty mansion, fluted columns, palm trees, flora, sunshine. There's a lot of luridness here too. Jayne Mansfield's nymphomaniac character Darlene can't seem to stop mentioning that she wants a fresh pair of panties, that she is on her last pair. There's jazz music all the way through, just so we know we're at a party.One user described this movie as unintentionally avant-garde, well I'd go along with that. This is the stuff that cults are made of. You wont believe the ending by and by.