"The Vengeance of She" is a 1968 Hammer film (British), a a sequel to 1965's "She" with Ursula Andress. Whereas the events of the first film took place in 1918, this sequel takes place 50 years later in the modern day (1967).THE STORY: A beautiful blond named Carol (Olinka Berova) is plagued by voices calling her "Ayesha" and is drawn by a mysterious force toward the Southeast. During her journey she meets Dr. Phillip Smith (Edward Judd) who decides to accompany her, likely because he wants to attain boyfriend status (even though he's obviously old enough to be her father). They travel through the desert with Philip (Edward Judd) and eventually reach a lost city in the mountains. John Richardson is back as Killikrates while Derek Godfrey and Danièle Noël play Men-Hari and Sharna.Although the storyline is sometimes kinda lazy you'll no doubt enjoy this film to some degree if appreciate Hammer films. What's it have going for it? Well, it's a serious adventure for one thing; don't expect any goofiness or camp here. It's got great locations including breathtaking shots of the Mediterranean coast. It also has one beautiful leading lady in Olinka Berova. Yes, Ursula Andress is gorgeous as well, but Olinka beats her out IMHO. Olinka may lack Ursula's looks-that-kill stunning-ness but she makes up for it in gentle, sweet innocence. Seriously, Olinka possesses a quality that's rare today. The film's worth watching or owning just to behold this.As to the "G-rated" issue, an Amazon reviewer -- "A Customer" (May 27, 2002) -- spends his entire review ranting about how mediocre the film is because it's rated G. First of all, the DVD is not rated G; it clearly states that the film is "unrated." Secondly, even if it WAS rated G at some point (like when it was originally released in theaters) it would be at least a PG or PG-13 today. Want proof? - Olinka is shown for long shots in just her underwear. One scene shows her walking into the ocean where her panties are wet and clearly see-through. Does this sound G-rated? - There's a fairly long belly dancing scene where the girls are less than half-dressed. Does this sound G-rated? - There are quite a few violent fights that end in death. Plus a woman on a sacrificial altar has a sword dropped into her bosom and a man staked to a wall is speared in the chest. Does this sound G-rated? Suffice to say that reviewer doesn't know what he's talking about.One last thing about this reviewer's piece. The guy appears obsessed with film ratings. Personally I never pay attention to these ratings. Why? Simply because a film is either great, good, mediocre or bad period. The rating is irrelevant. Does more gore, more nudity, more cussing, more overt sexual situations determine the worthiness of a film? Maybe for 13 year-olds. Is "The Wizard of OZ" a lousy film because it's rated G? How about the original "Planet of the Apes"? BOTTOM LINE: Although "The Vengeance of She" is not a hard R-rated film, it's neither a tame G-rated film either. It's worth watching or owning for the breathtakingly beautiful Olinka Berova, the fine locations and the serious spirit of adventure. It's only real flaw is that it has a bit of a lazy vibe, but it makes up for it with an ethereal ambiance. Regardless, "The Vengeance of She" delivers the goods if you're in the mood for a serious adventure flick à la 60's James Bond, but without the goofy super-spy elements. If you appreciate Hammer films it's a must.The film runs 101 minutes and was shot in Monte Carlo (Mediterranean coast), Spain (the desert) and England (the studio sets).GRADE: B (6.5/10 Stars)

!!!THIS REVIEW CONTAINS PLOT SPOILERS!!!This is one of the few well-known Hammer films I had never seen, until a few days ago. I had very low expectations and so, sat down to watch this with no preconceived ideas of real enjoyment; just of ticking another Hammer film off on my head as "seen".The Vengeance of She is oddly enjoyable if totally trashy. The script goes in a vaguely similar line to the original 1965 She. It has minimal characterisation, has no inner continuity and the actions and deeds of some of the characters are totally anachronistic (e.g an Arab who seems steeped in Western magick rites and philosophy).By the end I found myself totally disinterested if Carol (Olinka Berova) is the reincarnation of Ayesha or not. I was unmoved by the loss/love of Killikrates (John Richardson)and his dilemma of being immortal without his soul-mate. The actual events lost momentum for me even before reaching the Lost City.So why watch this film? There is an ethereal beauty to this film. Other reviewers have mentioned the beauty of the lovely Ms Berova and she is stunning, so that is enough said about that. But the ethereal beauty is beyond just her looks alone.The film has some wonderful images: Berova walking down a long winding road in a white fur coat, the desert sequence, the entry to Kuma, etc. The music score by Mario Nascimbene, including the song title (sung by Bob Fields), uses a haunting but very simple melody heard throughout the film in various guises. For the scenes set in the "modern world" it is played as a jazz miniature with solo saxophone. In Kuma, it becomes a chant with an ostinato figure derived from the main melody. I find this very effective.The ethereality of these features combine to produce something unexpected. This film has stayed with me. Shallow, disjointed and incongruous as the whole thing is, there seems to be something of a 60s acid trip side-effect from this film that I cannot explain. The notions of exoticism; love unrequited or lost; beauty and decay; and glamorous adventure that are not really explicit (due to ineptitude in narrative and performances) in this film are what will now stay with me.Perhaps in five years time or more, I will have a notion to return to this film... and be totally disappointed, wondering where the effect of this film, that stayed with me in the following days, actually came from. Yet, it is there and for this I give it a tentative recommendation and a very over-generous rating.

I really didn't know that Hammer made much of anything besides the horror films for which they are justly famous until coming across this double-feature DVD in the store (the 2nd film is The Viking Queen which you'll hear about next week); I needed some trash to go with the more serious stuff I had, so I picked it up.Basically, it's pretty good for what it is. Mysterious blond beauty is having odd dreams, visions, nightmares....escapes from lecherous truck driver who has given her a lift at the beginning....swims to a luxury yacht anchored off the coast (Monte Carlo, perhaps? never stated that I remember), has some fairly dull interactions with wealthy owner and suspicious wife, concerned psychiatrist friend of the owner....nightmares and visions persist, she throws herself overboard, owner dies saving her....boat puts in at a port in North Africa, she disappears and travels across country, now she is being called, "Ayesha, Ayesha" and must go to her destiny....the psychiatrist follows her....ancient forbidden city, Romans and magi....is she Ayesha, reborn? Will she live forever with the ancient Roman general who has brought her there? Preposterous, of course, but the DVD is so gorgeous, the colors so bright and the print so flawless, and the blond babe (Olga Schoberová) so beautiful, that hey, I enjoyed it as the escapism that it was intended to be. It certainly moved along nicely, and the location shots in the desert were quite nice. Honestly, it was vastly better than the recent Mummy films to which it bears some thematic resemblance. No real relation to the H Rider Haggard novels.

I was let down by Hammer Films' version of SHE (1965), so I wasn't particularly looking forward to its even less regarded sequel (concocted by Peter O'Donnell, who had earlier scripted the Joseph Losey camp classic MODESTY BLAISE [1966]!). Still, given that the film begins in a modern-day setting, I have to say that I found it mildly intriguing at first (following an unintentionally funny opening scene in which leading lady Olinka Berova is nearly raped by a loutish trucker who ends up trampled by his own vehicle!); however, once the scene shifts to the mythical city of Kuma, the film grinds to a halt - and, being one of Hammer's longest efforts at 101 minutes, this does it no favors at all! Though Mario Nascimbene is best-known for his scores of epic films and was probably assigned to this one for just that reason, the lounge music (including a title tune which is not half bad) he composed for the modern early scenes is actually the most effective part of his soundtrack! The cast is, again, worth discussing: Berova, who's involved in some very mild nudity throughout, is undeniably gorgeous and yet rather petite to act as a stand-in for the statuesque Ursula Andress (trivia note - reportedly, she was deported from the U.K. on suspicions of espionage!); John Richardson, repeating his role from the original film but who has turned villainous in the interim, gives a wooden performance; rugged Edward Judd always makes for a compelling lead in this type of film (I especially loved the way he put-down an exotic dance number secretly organized for his entertainment while a prisoner in Kuma!); Colin Blakely and Jill Melford as a wealthy vacationing couple (on whose yacht a distraught Berova finds herself) make a fine impression, but they unfortunately exit the proceedings very early on; Noel Willman is virtually unrecognizable as a wizened learned man of Kuma; Andre' Morell, appearing in a different role from the one he played in the original, is an embarrassment as a sort of shaman spouting mumbo-jumbo.As was the case with THE VIKING QUEEN (1967), there's some confusion with respect to the culture and the geography depicted in the film: the city of Kuma is supposed to be situated somewhere in North Africa, yet the natives - whom Judd meets during his journey to locate the kidnapped Berova - speak in Arabic. Similarly, both Morell and the high priests of Kuma are seen to be well-versed in the occult arts: I can't recall if this was as prominent a feature in the original Hammer film but, somehow, it all feels incongruous to the material!