|
Very loosely based on an Edgar
Wallace story, the German made The Devil Came From Akasava
is another teaming of Jess Franco and Soledad Miranda. This time out,
Mirada plays a sexy spy named Jane Morgan who accompanies a Scotland Yard
Agent named Rex Forrester (Fred Williamson) on his quest to track down a
missing scientist and a conspicuously absent stone.
It seems that this scientist headed
on out to Akasava, where some mythical stone exists that can turn everyday
normal metals into precious gold. The problem is that the good doctor
never returned from his trip, and with that kind of booty supposedly
existing out there, everyone wants to know what the results of his
research were. Unfortunately, what everyone doesn’t know, is that this
strange mineral may turn metal into gold, but it has some seriously
diverse and adverse effects on humans.
Those accustomed solely to the
‘erotic horror’ films that Franco is best known for may be taken back
a bit by this film, that is essentially a spy/thriller. Likewise, those
expecting a by the books Edgar Wallace pot boiler won’t exactly find
what they’re looking for here either. This is a Eurospy film, Franco
style – that is to say that many of the director’s trademark quirks
and characteristics are here (gratuitous Howard Vernon appearance, Franco
cameo, and lots of camera zooms), but it still provides the traditional
Eurospy sub-genre elements (chase scenes, sexy women with little to no
clothing, some violence, slick locals and sets).
While it may not be a true
‘Wallace’ film, it’s still a fun romp through 70s Europe thanks in
no small part to it’s amazing soundtrack. A cast made up of plenty of
Franco regulars keeps things enjoyable – one of the things I honestly
love about Franco’s movies is that you never know who is going to pop up
in a bit part, but at the same time, so many of those who do are instantly
recognizable from many of his other films.
The Devil Came From Akasava
is a bitter sweet movie for many Franco fans, as it was the last film
Soledad Miranda would make before her death shortly after the completion
of principal photography in 1970. Most of the films she made with Franco
are regarded as some of the better, more interesting films in his
catalogue and while he did go on to make plenty of decent films after her
death, the films they made together, for me, remain the cream of
Franco’s crop so to speak. Soledad had that captivating screen presence
that is so rare but so enthralling and her performance here is proof
positive of that.
|
|
