The opening sequence is delirious, a red hued femme cavorting in dry-ice. Imagine Barbarella shot by, well, Jess Franco. Then we get the obligatory establishing local-colour shot, which pans across what could be Rio. So far, so sixties. The music is immediate, sensationalizing bossa-novas. Picture quality is generally as good as this could get, sometimes being less than the colourful opening. Yet the kitsch & minimalist gal's costumes all speak Franco..
The lead femme is haughty but photogenic, you may recall she was the gal covered in gold in Goldfinger. George Sanders, on his last legs, is as ever a delight, if only given a script with hardly a normal sentence to render. Many gals, occasional flashes of breastage, a plot that emulates and at the same time mocks spy films, in a comic book fashion...yet the film has lag. Lots of lag, more than jet lag. There is not sufficient plot for 90 minutes and coupled with a less than thespian quality of the 'leading man', who seems so tanned as to be varnished stiff, and the whole seems a lot longer than an hour and a half.
With the need for speed and the constant drive for comedic throw-away lines, it all does comes across as a slightly surreal comment on action films, what with guns that may be toys, people being tortured with devices that are as frightening as a budgie in a bag. The feel is almost camp Carry On film, the look almost shades of The Prisoner. A surreal romp that doesn't quite deliver punch or dramatic force, but does stand out as a relic of the late sixties and of Franco's just warming up his zoom lens. The extras, a documentary is up to date and most insightful on what Franco saw and what some actors thought they were doing. Which is rarely the same bag when we watch a minor Franco flick. Enjoyable, but slow, like an elephant eating a bun a long way off.