SUPERBITCH

Aka Si puo essere piu bastardi dell'ispettore Cliff? (I), Blue Movie Blackmail (int), Mafia Junction (US), Piege pour un tueur (Fr), Mama la Turca (Fr)
1972
Italy/UK
Italian International Film, Clodio Cin.ca (Rome), Monymusk Productions (London)
Director : Massimo Dallamano
Story : Based on a novel by George P. Breakston
Script : Massimo Dallamano, Ross MacKenzie
Music : Riz Ortolani (C.A.M.)
Cinematography : Jack Hildyard {Eastmancolor}
Editor : Antonio Siciliano
Art director : n/a
Original running time : 97 mins
Italian takings : n/a
Shot at: n/a
Cast : Ivan Rassimov (Cliff), Stephanie Beacham (Joanne), Patricia Hayes (Mamma The Turk), Red Carter [Ettore Manni] (Morell), Luciano Catenacci (Gamble), Verna Harvey (Eva), Giacomo Rossi Stuart (Marco), Cec Linder, Leon Vitalli, Ben Carra, George Murcell, Tutte Lemkow, Giancarlo Prati (Mamma's ginger haired son), James Bate, Morris Perry, Jackie Gambino, Michael Sheard (Williamson), Abdel Majid Majzaub, Gareth Thomas

Inspector Cliff (Rassimov) is an undercover cop who has managed to infiltrate a London escort agency run by Morell (Manni). This establishment has a particular scam that it likes to play; secretly filming it's VIP clients in potentially embarrassing situations and then blackmailing them into carrying narcotics across the border. The main purchaser of their goods is Marco (Rossi-Stuart); the representative of an American outfit who is involved in a complex turf war with Mamma The Turk (Patricia Hayes).

Cliff is actually attempting to manipulate the situation so that all of the crooks can be caught in the act - not an easy undertaking given that they seem to be intent upon obliterating each other. His plan involves a shipment of cocaine hidden in a statue, Morell's right-hand girl (Beacham) and ensuring that any other competition in the supply department is wiped out. However, his superiors are becoming concerned about the overly-enthusiastic way in which he has adapted to the lifestyle of the underworld, fears that are exacerbated when his boss is shot in the head after threatening to take him off the case.

To be perfectly honest, I didn't have the faintest idea what on earth was going on in this film until the whole plot was explained in the closing minutes of it's running time. However, that didn't bother me too much, because the music's grr-roovy, it looks fabulous and the fashions are appalling. Director Dallamano was previously the cinematographer for Leone's Fistful of Dollars (Per un pugno di dollari, 64) which, coincidentally, had a premise almost identical to this - gold-digger playing off criminal clans against each other so that he can pick up the booty at the end. He proved to be a dab hand at this type of sleazy fare (see What Have They Done With Solange? (Cosa avete fatto a Solange?, 72), Colt .38 Special Squad (Quelli della calibro 38, 76)), often managing to imbue his generally tawdry scenarios with a colourful, stylised look.

Ivan Rassimov is fine in the lead role, mainly because he isn't really asked to do much more except wear a black polo neck with a blazer and look cool. He does, however, have a slightly sinister visage - which suits this particular role well. As well as the usual suspects, the cast is filled out with a smattering of Brits. Stephanie Beacham, who demonstrates an admirable willingness to shed her clothes at any opportunity, went on to become an American soap queen and gay icon with her role in Dynasty. She wasn't the only Brit Actress who would star in that series to ply her trade in Italian crime films - Joan Collins co-starred in the Maurizio Merli vehicle Fearless Fuzz (Poliziotto senza paura, 77). Micheal Sheard appeared for years in the children's TV series Grange Hill as the disciplinarian Mr Bronson, before firmly cementing his evil credentials by appearing as a nazi in Raiders of the Lost Ark (and who says we don't give you trivia?). Gareth Thomas, who pops up as a policeman, was 'Blake' in Blake's 7.

Best of all, though, is Patricia Hayes, TV staple and habitual 'old bag', in possibly her most eccentric role as an evil matriarch with a deranged accent and a coterie of backward offspring. The sight of these inbreds singing 'Mamma, Mamma, Mamma, Mamma, You can handle guns better than any man' is enough to bring out palpitations in even the strongest of trash-fanatics. However, even this is as nothing when compared to the really bizarre scene involving a distinguished gentleman with a bunny rabbit fixation, a supply of carrots and the aforementioned Ms Beacham !

Behind the scenes, there are also a number of interesting names. Cinematographer Jack Hildyard was an oscar-winner for Bridge on the River Kwai (58), and had also worked on high-profile productions such as Modesty Blaise (66) and The V.I.P.'s (63). By the seventies - in a truly sad reflection upon the state of the British film industry - he was working on the likes of The Beast Must Die (74). The script is based on a 'story' by George P. Breakston, a former child actor who directed such oddities as The Manster (62) and The Boy Who Cried Murder (66). All of which serves to make this a true curiosity; far better than it's commonplace dismissal as a softcore skeleton in Ms Beacham's closet would indicate. It would be interesting to know more about the cirumstances of it's making.

Reviewed by Matt Blake