Though I searched high and low, I couldn't find a copy of Joan Collins' previous movie, "The Stud", so I had to settle for watching this sequel. After watching the movie, I no longer have any desire to find the original film. Though sequels are typically bad, this movie was so bad that I simply could not picture "The Stud" being better. It's a shoddily made movie at times - some of the dialogue was obviously dubbed over in post- production. What's even worse is the story - more than a third into the movie, I was asking myself, "Just what is the point of this movie?" I asked myself that same question in the closing minutes of the movie! If you feel you can look over the pointless story and are just looking for trash, the movie still disappoints. Except for one mildly erotic sequence taking place at an indoor pool, the sporadic nude/sex sequences aren't the least bit enticing. If you want to see Joan Collins in a trashy movie, you'd be better of watching "Empire of the Ants".

After the remarkable success of "The Stud", Collins teamed up with her husband (producing) and her sister (author of the source novel) for another go 'round in the world of the decadent, restless and lusty rich. It was a decision she would regret forever after. She plays a jet-setting divorcée who owns a discotheque that has fallen on some hard times. Despite her concern over it, she still finds time to seduce her chauffeur and play with shady gambler Cantafora who, unbeknownst to her, has hidden a large diamond in one of her many fur coats. He uses her to smuggle the diamond into England, but then loses touch with her for a time and must track her down before his creditors rearrange his face. Eventually, Collins becomes involved with the underworld creditors herself (including a racehorse subplot) as she wrangles to save her beloved night club. Amidst all of this is the customary bed-hopping and, of course, the obligatory swimming pool orgy, though, this time, Collins opts to stay dry. Her horny pal Lloyd picks up the sexual slack by seducing a jockey by applying blue ribbons to each of her nipples! Cantafora frolics in the pool with several naked women, giving each of them a brief nibble as they hilariously swim by. Also check out the swimsuit fashion show at a rival club in which the designer apparently forgot to include some of the tops! Collins is a bit better lit this time out and the film appears to have a more substantial budget than its predecessor, but the story lacks vision and cohesion. The plot, such as it is, just seems like filler in order to link together the not-so-sexy sex scenes. Collins wears a variety of ensembles, some flattering, some ridiculous and at times, is overcome by some gigantic hair. Cantafora reportedly spoke with such a pronounced accent that all his lines had to be re-dubbed by another actor. Collins has never spoken of him with the same degree of affability she afforded "The Stud", George Tobias, though she doesn't hold this film in very high regard anyway. Lloyd, Burns and Fisher all appeared in "The Stud", providing at least a hint of continuity between the two films. Snuggled in the cast is a pre-fame Ratzenberger as Cantafora's fence, who, at one point, is forced to boogie down on the dance floor! The music in this film is not as notable as that of "The Stud" though several of the songs are recognizable hits of the era. One notable aspect of the film is the opening credits sequence in which Collins first appears wearing virtually no makeup and then, as the names appear, subsequent photos show her with more and more cosmetics applied until she has transformed into the title character (and, yes, there is a hilarious title song that accompanies this!) Collins has long resented the fact that the term "bitch" has stuck to her ever since this, a condition not helped at all by her subsequent gig as the biggest bitch of them all as Alexis Morrell Carrington Colby Dexter Rowan on "Dynasty". She has little good to say about the film (and it is indeed pretty lame) but it did aid her in reinventing herself from a 1950's has-been into an internationally recognized icon. Also, the image of her in a chauffeur's cap, corset and fur coat has proved to be an enduring one. It may be that certain still frame shots of the movie are more arresting and intriguing that the movie itself!

'The Bitch' was made during a soft-core craze in late 1970s Britain, when various types of pornography had theatrical releases. Soft-core titles were meant to be watched and forgotten in due time, having sated their viewers. Unfortunately for Joan Collins, 'The Bitch' and its 1978 predecessor 'The Stud' endured in the public conscience and have found their way onto the DVD market. Still embarrassed for playing the role of Fontaine Khaled, these trashy disco flicks helped to sink the reputation of Collins before renewing herself as Alexis Colby in the TV series 'Dynasty.'Collins has spoken little about her visits to the adult film market, which date as far back as 1969 with 'Can Hieronymus Merkin Ever Forget Mercy Humppe and Find True Happiness?' She has good reason, since 'The Bitch' marked the low point of her career and exemplifies a good actress slumming it up. Certainly, 'The Bitch' is all-out sleaze, a movie that few would admit in public to watching. While this film steered Collins towards her role as Alexis Colby, it also put the 40-something actress out of commission until the next decade.In 'The Stud,' nightclub owner Fontaine Khaled separates from her husband Ben after a series of extramarital trysts, including one with the 'Stud,' Tony Blake. Fontaine has since become a free-wheeling divorcée, at liberty to bed any man she pleases. This leads to a hook-up with Nico Cantafora (Antonio Cantafora, under the name 'Michael Coby'), an Italian gambler who owes large debts to the Mafia. Fontaine is used to smuggle a diamond ring into England that would raise Nico some cash, until she finds out and takes up a bitchy posture with him…The 'plot' is less complicated then it sounds, a cardboard storyline with interludes of sex that feature as little emotional connection as possible. This was the era, don't forget, when gazing at someone from across a roulette table could land you an immediate date in the sack (or at least movies had you think). 'The Bitch' has all of the usual traits for soft-core pornography: minimal plotting, minimal character development, cheap production values, shoddy technical work, and horrendous acting. It has all of this and plenty of gratuitous skin, making 'The Bitch' so putrid that it's even low in camp value. While offering a small glimpse into the disco world of late 1970s England, there are few over-the-top or outrageous moments to keep us interested. Most of it is smug and lifeless, with enough flashing lights and pounding disco music to have you screaming for Novocain. If 'The Bitch' had a decent plot and some class, it would be fairly watchable. But as a 28-year-old who is removed from the disco era, I don't find excitement in bedding every person that moves, pool orgies, and watching two people shag to 'Claire de Lune,' as happens here. The sex scenes are not erotic in the least; they are actually depressing because of the complete lack of feeling in them. Joan Collins handles herself well under the circumstances, but most of the lead cast that includes Antonio Cantafora, Kenneth Haigh, and Ian Hendry is terrible. Considering how empty the plot and dialogue are, you can't really blame them. The fault lies in poor scriptwriting and direction by Gerry O'Hara ('Fanny Hill'), besides the novel by Jackie Collins upon which this film is based.One of few strong points in 'The Bitch' is a disco soundtrack that captures the 1970s musical landscape, but it is overdone by sound technicians David Crozier and Michael Hopkins, who were perhaps trying to fill some of the void. In the nightclub scenes, much of the dialogue is swallowed up by pulsating music, which was typical for a disco but counterproductive in a film - not that you'll miss very much, because nothing of importance is said and people don't watch movies like this for the vast soliloquies. Original music is supplied by Biddu and Don Black, including the cheap main title. The visual quality by cinematographer Dennis Lewiston is actually not too bad, recording the flamboyant colors of 1970s dance and dress. Lewiston, however, uses superficial zooms and camera angles in a grope at artistry. Soft visuals give 'The Bitch' an added seediness that is clearly in line with adult films.The only reason why 'The Bitch' and 'The Stud' exist today is Joan Collins's presence. They are nothing more than average 1970s skin flicks, a long line of which has faded into oblivion. Fans of Collins who don't know about these two movies will be unpleasantly surprised if they decide to check them out. 'The Bitch' has been released on DVD in the United States by Trinity Home Entertainment with the minimal treatment it deserves. This epic 89-minute film (*wink-wink*) is presented in full frame with no widescreen option. Sound is in Dolby Digital 2.0, which is often muddled and does nothing to correct the imbalance between music and dialogue. The visual quality on a TV set is acceptable, with Lewiston's soft tone and pastel colors steady throughout. A computer monitor reveals severe grain and artifacts, proof that Trinity could not be bothered with restoration. As always, widescreen is preferable and it would be interesting to see how this rubbish was promoted in the theatrical trailer. I'm also not sure why cast member Pamela Salem is displayed on the main menu screen instead of Collins, but little about this film makes any sense.½ * out of 4

Joan Collins continues her pleasure-seeking habits in this awful movie. The film is rather confusing at times and even Joan has no idea what is going on. The DISCO soundtrack and lights get on your nerves after a while. "The Bitch" is also based on the trashy novel by Jackie Collins (Joan's sister). This is a really bad career move Joan...