Unfortunately, "The Bitch" is neither campy enough nor trashy enough to live down to its sensational(istic) title. In fact, apart maybe from a pool-orgy sequence, it is rather quaint. Joan Collins' character is hardly even a bitch - she is just rich and liberated. She does get to flash her magnificent bare body, which should be enough to get a rise out of most viewers, but this film is more of a promo for disco music than anything else.
23 Reviews
For lovers of 1970's flashy disco junk only!
Pedro_H17 October 2005
An owner of a 1970's London disco gets sexually involved with a shady medallion man who may have dangerous Mafia links.
What a pile of junk this is! But, somehow and some way, I have a soft spot for it. A guilty pleasure that should be whispered lightly and only in limited company. It is so camp that on release it probably drove drag queen rushing towards the exits.
It does - however - capture the 70's disco scene and fashions as well as the faceless hits that pumped out of them. Clear and brainless padding though they are.
This is based on a (Jackie) Collins novel that shows the imagination of a newt: discos, glamour, the mob, diamonds, dancing and guys who think they look better with a thick moustache. If you were given the task of writing a script based on clichés you couldn't do better than this.
Lead Joan Collins, only a few years before so down-on-her-luck that she was signing on the dole, takes her clothes off for about six milliseconds to reveal a pale skinny body that has seen better days, but you still would, wouldn't you?
Everyone hated discos, even the people that went to them every week. Boring places where girls danced around handbags and every girl you spoke to was "waiting for her boyfriend." A plastic imitation of a good time. Not to mention that horrible, insisting, pounding music that made any dance floor conversation impossible. If there is a hell - it must be like a 70's disco.
Yes, you are probably going to hate it. Yes, you won't see what the point it is. But it is like a bad war film about a war that you went through yourself and have the scars to prove it - it keeps you involved even though there is a million other things that you really should be doing.
What a pile of junk this is! But, somehow and some way, I have a soft spot for it. A guilty pleasure that should be whispered lightly and only in limited company. It is so camp that on release it probably drove drag queen rushing towards the exits.
It does - however - capture the 70's disco scene and fashions as well as the faceless hits that pumped out of them. Clear and brainless padding though they are.
This is based on a (Jackie) Collins novel that shows the imagination of a newt: discos, glamour, the mob, diamonds, dancing and guys who think they look better with a thick moustache. If you were given the task of writing a script based on clichés you couldn't do better than this.
Lead Joan Collins, only a few years before so down-on-her-luck that she was signing on the dole, takes her clothes off for about six milliseconds to reveal a pale skinny body that has seen better days, but you still would, wouldn't you?
Everyone hated discos, even the people that went to them every week. Boring places where girls danced around handbags and every girl you spoke to was "waiting for her boyfriend." A plastic imitation of a good time. Not to mention that horrible, insisting, pounding music that made any dance floor conversation impossible. If there is a hell - it must be like a 70's disco.
Yes, you are probably going to hate it. Yes, you won't see what the point it is. But it is like a bad war film about a war that you went through yourself and have the scars to prove it - it keeps you involved even though there is a million other things that you really should be doing.
fake jeweleery, not a crystal cabinet
jaibo14 June 2008
Warning: Spoilers
Pretty half-hearted sequel to The Stud, losing Tobias and concentrating on Collins' turn as the bitch of the title, Fontaine Khaled. Whereas a case can be made that the first film said something about the way "the jet set" chew up and spit out working class flesh, this one is little but enamoured by its decadent rich characters, and the lame gangster sub-plot - which ought to be the dramatic centre of the film - goes nowhere (although it still all leaves a pretty nasty after-taste, with every character exposed as morally rotten and alone).
Gerry O'Hara - an okay British exploitation director elsewhere - sets up a few stylish shots, mostly involving mirrors; his mise-en-scene seems to imply that these characters are trapped in a world of reflections in which they watch themselves bonk, bitch and banter, deal and double cross into a vapid infinity. The mirroring even goes as far as having The Stud playing on the plane in which Fontaine crosses the Atlantic, but the idea isn't really followed through. It's a fake diamond, like the one leading man Nico Cantafora smuggles into London using Fontaine, not any kind of sophisticated crystal cabinet. Too many of the moments are dead and needless; there's some campy fun to be had from the disco dancing (especially in the gay disco segment) but Nico is an uninteresting protagonist, and Collins has to carry the film by her own limited, although charming, means.
The saddest thing here is the appearance of Ian Hendry - clearly not a well man - as a clichéd London gangster, and the original stage Jimmy Porter Kenneth Haigh in the thankless role of Fontaine's accountant and rejected suitor.
Gerry O'Hara - an okay British exploitation director elsewhere - sets up a few stylish shots, mostly involving mirrors; his mise-en-scene seems to imply that these characters are trapped in a world of reflections in which they watch themselves bonk, bitch and banter, deal and double cross into a vapid infinity. The mirroring even goes as far as having The Stud playing on the plane in which Fontaine crosses the Atlantic, but the idea isn't really followed through. It's a fake diamond, like the one leading man Nico Cantafora smuggles into London using Fontaine, not any kind of sophisticated crystal cabinet. Too many of the moments are dead and needless; there's some campy fun to be had from the disco dancing (especially in the gay disco segment) but Nico is an uninteresting protagonist, and Collins has to carry the film by her own limited, although charming, means.
The saddest thing here is the appearance of Ian Hendry - clearly not a well man - as a clichéd London gangster, and the original stage Jimmy Porter Kenneth Haigh in the thankless role of Fontaine's accountant and rejected suitor.
hmmmm...
jamms14 August 2000
If you take "The Stud" as the height of the hedonistic campy and thrashy disco 70's then this is not your movie as it is a major let down.
Joan Collins revives her role as the hedonistic and sexually liberated Mrs. Fontain Khaled (read as "BITCH") is now divorced after her husband found incriminating evidence of her bonking Tony (The Stud.. if you remember) and is now doing every one in sight. She must be really bored with her sex life because in a few hours of her arrival in London she screws her driver????
And so the saga of sex and sin continues...and unfortunately the sex scenes in this movie can be summerised in one word.."AWFUL" The actors actually look so bored and lifeless it is amazing, plus there is the obligatory pool-orgy.
The only thing to ss in this movie is when the main titles roll, and as the title song comes on, we see Joan Collins without any make up (looking as pale as a milk ). As it continues she does a total make over and by the end completes looking like the BITCH she loves to play.
Worth only for die hard J.C. fans, but they may be disapointed.
Joan Collins revives her role as the hedonistic and sexually liberated Mrs. Fontain Khaled (read as "BITCH") is now divorced after her husband found incriminating evidence of her bonking Tony (The Stud.. if you remember) and is now doing every one in sight. She must be really bored with her sex life because in a few hours of her arrival in London she screws her driver????
And so the saga of sex and sin continues...and unfortunately the sex scenes in this movie can be summerised in one word.."AWFUL" The actors actually look so bored and lifeless it is amazing, plus there is the obligatory pool-orgy.
The only thing to ss in this movie is when the main titles roll, and as the title song comes on, we see Joan Collins without any make up (looking as pale as a milk ). As it continues she does a total make over and by the end completes looking like the BITCH she loves to play.
Worth only for die hard J.C. fans, but they may be disapointed.
Painful and Futile
bbhlthph20 August 2004
Joan Collins seems to delight in filming some of the most trashy novels written by her sister Jackie, and playing the part of the most outrageous character in the book. How else can one explain her roles in the films of "The Stud" and its sequel "The Bitch"? Viewers comments in the IMDb database for "The Stud" probably say all that really needs saying about both of them. I find watching such films is rather like attending an unwanted disco party - it is painful whilst it lasts, and after it is over, I am left to ask myself what made me waste so much time doing something so futile. In the case of "The Bitch" this analogy is particularly appropriate as the lighting for much of the film is very like what one might expect to find at a disco, and is probably equally capable of leading to a headache. However there are usually short periods of enjoyment to provide some small consolation during even the most futile party. Watching this film, the consolation for me was a very short pool party which was free of psychedelic lighting effects and was not only more restful on the eyes but also quite amusing to watch. In consideration of this I will rate the film at two out of ten, rather than giving it only the one that it really deserves.
Joan makes it hard for us one more time
ShadeGrenade1 October 2010
Warning: Spoilers
'The Bitch' holds the distinction of being the first motion picture to retail on sell-through video. Copies were on sale in Woolworths for about £100 each ( probably more than the film's total budget ) at the time of its release. It was, of course, the sequel to the steamy bonk-buster 'The Stud' ( 1978 ) which starred Joan Collins as man-mad London disco owner 'Fontaine Khaled'. Oliver Tobias was to have returned, but angered Jackie Collins ( on whose book it was based ) by giving a frank interview in which he called the first film 'rubbish'. He was dead right, of course. Jackie responded by saying that she hadn't originally wanted him in the film, he only got the role because Paul Michael Glaser ( of 'Starsky & Hutch' ) was unavailable.
In place of Oliver ( why did no-one think to hire Leonard Rossiter? ) came Omar Sharif-lookalike Michael Coby as 'Nico', whom Fontaine meets and has it off with ( over and over and over again! ) while Biddu disco music throbs on the soundtrack ( unlike one of the other reviewers here, I have fond memories of '70's discos. I was no Travolta though. My answer to 'Saturday Night Fever' would have been called 'Friday Night Slight Chill'! ). Nico is affiliated to the Mob, headed by 'Thrush Feather' ( sounds like a sexually transmitted disease ), played by Ian Hendry, a long, long way from the heights of 'Get Carter'. Fontaine's life is under threat, but it all works out happily at the end.
The first film's most famous sex scene was the elevator one involving Colins and Tobias, so here they went one better by having a swimming pool orgy full of randy young things ( luckily they did not have to worry about A.I.D.S. in those days ). The best moment is when Fontaine seduces her chauffeur Paul ( Maurice Thorogood ) with the line "I think I'll give you a raise!".
Ridiculous though this is ( the 'Emmanuelle' films are subtle by comparison ) one would not mind had it looked rich and glossy. It does not. The sets look like left-overs from 'Coronation Street' and the costumes must have come from a Scope charity shop. Another annoying aspect is that, despite the title, Fontaine does not get to be bitchy. A number of talented performers ( presumably there for the money ) such as Carolyn Seymour, Pamela Salem, Sue Lloyd and Doug Fisher ( 'Larry' from 'Man About The House' ) are wasted in this drivel. Still, it manages to be more fun than 'Dynasty'. Boosted by a high-profile publicity campaign that focused on Joan in kinky underwear, the film was another hit.
Given the current Hollywood mania for remakes, it is reasonable to assume some whizz-kid producer will attempt a 'reimagining' of 'The Bitch' in the not-too distant future, possibly with 'Fontaine' being humped by C.G.I. aliens while in zero gravity aboard a disco space station. I'd definitely pay to see that!
In place of Oliver ( why did no-one think to hire Leonard Rossiter? ) came Omar Sharif-lookalike Michael Coby as 'Nico', whom Fontaine meets and has it off with ( over and over and over again! ) while Biddu disco music throbs on the soundtrack ( unlike one of the other reviewers here, I have fond memories of '70's discos. I was no Travolta though. My answer to 'Saturday Night Fever' would have been called 'Friday Night Slight Chill'! ). Nico is affiliated to the Mob, headed by 'Thrush Feather' ( sounds like a sexually transmitted disease ), played by Ian Hendry, a long, long way from the heights of 'Get Carter'. Fontaine's life is under threat, but it all works out happily at the end.
The first film's most famous sex scene was the elevator one involving Colins and Tobias, so here they went one better by having a swimming pool orgy full of randy young things ( luckily they did not have to worry about A.I.D.S. in those days ). The best moment is when Fontaine seduces her chauffeur Paul ( Maurice Thorogood ) with the line "I think I'll give you a raise!".
Ridiculous though this is ( the 'Emmanuelle' films are subtle by comparison ) one would not mind had it looked rich and glossy. It does not. The sets look like left-overs from 'Coronation Street' and the costumes must have come from a Scope charity shop. Another annoying aspect is that, despite the title, Fontaine does not get to be bitchy. A number of talented performers ( presumably there for the money ) such as Carolyn Seymour, Pamela Salem, Sue Lloyd and Doug Fisher ( 'Larry' from 'Man About The House' ) are wasted in this drivel. Still, it manages to be more fun than 'Dynasty'. Boosted by a high-profile publicity campaign that focused on Joan in kinky underwear, the film was another hit.
Given the current Hollywood mania for remakes, it is reasonable to assume some whizz-kid producer will attempt a 'reimagining' of 'The Bitch' in the not-too distant future, possibly with 'Fontaine' being humped by C.G.I. aliens while in zero gravity aboard a disco space station. I'd definitely pay to see that!
As if 'The Stud' wasn't enough
paul_johnr21 September 2006
Warning: Spoilers
'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
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
No matter what you call her, Fontaynne is just Alexis pre-fall of 1981.
mark.waltz7 August 2022
Warning: Spoilers
It's too bad that Jackie Collins was never hired as a writer on "Dynasty" because they probably would have tied her character into the past that Alexis never revealed between the time she was banished to the time she showed up in court. Collins is great, but she's not the description of the title. Perhaps a bit man crazy. Perhaps a bit caustic. But outside of being in control of her life (or at least determined to remain in control), she's rather a vulnerable character, something that Collins instilled in Alexis that didn't make audiences hate her on those occasions when she did something evil.
I love her liberal lifestyle, seducing every man she has a sudden desire for (including her brand new chauffeur), yet hitting up the hot gay disco on the night when her own Disco hardly anybody in it, beginning an affair with a an Arab business man who smuggles jewelry into Heathrow then seduces her to get it back from the fur coat of hers he hid it in. Of course there's more to him than meets the eye, getting her into danger, with mob associates of his after her club. (Heck if I were her, I'd get rid of it any way I could.)
Collins had a very versatile career before she took on these strong mature female roles, and there's no escaping Alexis for her. This reeks of mid to late 70's extremism for the liberation of society in a way that the club scene will never see again. It's a hoot, although if the film is going for a "Valley of the Dolls" style camp, it doesn't quite get there. Perhaps deliberate trash like this seems too aware of the joke to get away with it. But for Collins fans (like me, mainly for her earlier work), it's a treat, and she seems to be having a gay old time making it. So I give it a fairly decent rating for the nostalgia aspect and for Joan's charm. It's ironic that the drawings of her in the credits look closer to Joan Crawford than Miss Collins.
I love her liberal lifestyle, seducing every man she has a sudden desire for (including her brand new chauffeur), yet hitting up the hot gay disco on the night when her own Disco hardly anybody in it, beginning an affair with a an Arab business man who smuggles jewelry into Heathrow then seduces her to get it back from the fur coat of hers he hid it in. Of course there's more to him than meets the eye, getting her into danger, with mob associates of his after her club. (Heck if I were her, I'd get rid of it any way I could.)
Collins had a very versatile career before she took on these strong mature female roles, and there's no escaping Alexis for her. This reeks of mid to late 70's extremism for the liberation of society in a way that the club scene will never see again. It's a hoot, although if the film is going for a "Valley of the Dolls" style camp, it doesn't quite get there. Perhaps deliberate trash like this seems too aware of the joke to get away with it. But for Collins fans (like me, mainly for her earlier work), it's a treat, and she seems to be having a gay old time making it. So I give it a fairly decent rating for the nostalgia aspect and for Joan's charm. It's ironic that the drawings of her in the credits look closer to Joan Crawford than Miss Collins.
like watching a train wreck--a really awful, stupid, unappealing one at that!
planktonrules23 March 2006
This is not Joan Collins' worst film, nor is it even the second-worst film. No, it's probably tied for 3rd with THE STUD (both are part of the great soft-core porn duo of films she made in the late 70s). While I really don't watch skin flicks, this one really didn't show that much and I felt I had to see it simply because I love seeing her awful films of that era. They are so bad and embarrassing to watch, they are mesmerizing! The movie is based on a base book by her almost equally famous sister, Jackie (as was THE STUD). I heard some time back that they now hate each other and don't even talk--I think these movies are the reason why!. It's trashy with a little bit of skin thrown in (though not much of Joan's). Combined with horrible acting, terrible writing and uninspired direction is perhaps the most annoying and stupid theme song ever. So bad, you might want to give it a look just to say you saw Joan at the absolute lowest point in her career.
By the way, I noticed some comments said that THE STUD is a better film. Perhaps, but it's like comparing Rectal Cancer to Leprosy--neither one is appealing or something you'd want!!
By the way, I noticed some comments said that THE STUD is a better film. Perhaps, but it's like comparing Rectal Cancer to Leprosy--neither one is appealing or something you'd want!!
THE BITCH (Gerry O'Hara, 1979) **
Bunuel197618 August 2006
The sequel to THE STUD (1978), also based on a Jackie Collins novel, is more of the same - if more elaborately plotted, taking in a diamond heist, fixed horse-races and the mob! The stud this time around is the Italianite but ultra-resistible Micheal Coby and the girl with whom he shares a brief moment of bedroom bliss turns out to be working for the mob - headed by a campy turn from Ian Hendry (who seems to have just strayed in from GET CARTER [1971]).
The mix is as before: tawdry shenanigans in lush settings to (a literally dying) disco-beat. Collins again does a dry-run for what eventually became her signature role, that of Alexis Colby in the long-running TV soap opera "Dynasty". As I said, these films are bad but a fun one-time viewing nonetheless.
The mix is as before: tawdry shenanigans in lush settings to (a literally dying) disco-beat. Collins again does a dry-run for what eventually became her signature role, that of Alexis Colby in the long-running TV soap opera "Dynasty". As I said, these films are bad but a fun one-time viewing nonetheless.
Polyester Poontang
JamesHitchcock23 February 2012
One of the more obscure items in Joan Collins's filmography is a film (written, produced and directed by her eccentric second husband Anthony Newley) with the magnificent title "Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?", in which she plays a character with the equally wonderful name of Polyester Poontang, a name which I have always thought would have made a good stage name for Collins herself. "Poontang", after all, is a slang term (in America, if not in Britain) for a sexually attractive woman, whereas "polyester" denotes something artificial, a word which sums up Collins's acting at its worst.
In her heyday in the late fifties and early sixties Collins was a star of some magnitude (a fact often overlooked by her detractors), but after failing to land the lead in "Cleopatra" she took a break from acting to spend more time with her family, and on her return was unable to break back into Hollywood. Most of her films from the late sixties and seventies were low-budget British offerings of widely varying quality. At least one of them, "Quest for Love", was excellent, but the majority were anything but, with "I Don't Want to Be Born" a particularly egregious example.
And then, in the late seventies, Polyester hit on a brilliant way of revitalising her career. She would openly admit her true age (hitherto something of a movable feast) and reinvent herself as Britain's first middle-aged sex symbol, the glamorous, sexy Older Woman. Or perhaps not quite the first; her slightly older contemporary Diana Dors had been trying something similar without success, the difference being that Collins, unlike Dors, had preserved her youthful good looks well enough to make such a transformation plausible. The results were "The Stud" and its sequel "The Bitch", both based on novels by Joan's younger sister Jackie Collins. (The third Collins sister, Natasha, famously remarked "One of my sisters writes trash, the other acts in it").
In "The Stud", Joan played Fontaine Khaled, the British wife of a Middle Eastern businessman. (The character was possibly based on Soraya Khashoggi, née Sandra Daly). In its successor, Fontaine is now divorced and the owner of a trendy London nightclub (i.e. disco). Although this is a British film, the word "bitch" in the title is used in the American sense of "sexually promiscuous woman" rather than the more common British usage of "unpleasant or spiteful woman". The plot has something to do with Fontaine's financial problems, a stolen necklace, the Mafia, a horse race and a mustachioed Italian stud- the seventies being the last period in recorded history when a luxuriant moustache denoted rampant heterosexuality rather than the opposite- but none of these elements matter very much. The film-makers were less interested in them than they were in Fontaine's habit of dropping her knickers whenever there is a handsome man (or even an OK-looking man) anywhere in her vicinity.
"The Stud" and "The Bitch" were generally panned by critics, yet both were huge commercial successes, the most successful British films of the seventies apart from the Bond franchise. There is, however, an explanation for this apparent contradiction. The films are little more than soft-core porn, and in an age when porn, whether hard- or soft-core, was much less easily available than it is today, any film involving nudity and sex scenes was virtually guaranteed to be good box-office. Just as the crowds who flocked to see "Emmanuelle" did not do so to admire Sylvia Kristel's acting technique or to polish up their French, so those who flocked to see "The Bitch" had more interest in seeing Joan get her kit off than they did in those aspects of film-making (direction, plot, dialogue, acting, character development, etc.) which are normally the concern of film critics.
Which is just as well as the film is singularly lacking in all those departments. Apart from the incompetence of most of those who had a hand in making it, the film's worst sin is its pretentious tackiness; the scenes of Fontaine's apartment, the supposed luxury hotels and the supposedly high-class nightclub are all obviously intended to convey a sense of luxury and sophistication, but all they do is remind us, forcibly, of just why the seventies are best remembered as the decade that taste forgot.
Collins is the film's only star of any real fame, but even she is just as awful as any of her co-stars. Indeed, her performance is perhaps less forgivable than theirs. They give poor performances because of a basic lack of talent; she gives one because of a total lack of sincerity. It is perhaps ironic that she is best-known for playing sultry femmes fatales, because on the evidence of "The Stud", "The Bitch" and "Dynasty" (where her character Alexis Carrington was essentially Fontaine Khaled toned down to meet the more puritanical standards of prime-time television) it is not the sort of role in which she excelled. Her performance here is marked by a sort of arch, knowing irony; her attitude could not have been more clear if she had worn a t-shirt throughout bearing the slogan "Daahling, I'm really a classically-trained RADA graduate- I'm only acting in this crap because it pays the mortgage".
Collins is on record as alleging that "Can Heironymus Merkin .." was one of the factors leading to the breakdown of her marriage to Newley. This experience did not, however, dissuade her from intermingling her professional career with her marital affairs, as her third husband, Ron Kass, acted as the producer of "The Bitch". When that marriage also broke down a few years later, I am surprised that this film did not feature as an exhibit to her divorce petition. 2/10
In her heyday in the late fifties and early sixties Collins was a star of some magnitude (a fact often overlooked by her detractors), but after failing to land the lead in "Cleopatra" she took a break from acting to spend more time with her family, and on her return was unable to break back into Hollywood. Most of her films from the late sixties and seventies were low-budget British offerings of widely varying quality. At least one of them, "Quest for Love", was excellent, but the majority were anything but, with "I Don't Want to Be Born" a particularly egregious example.
And then, in the late seventies, Polyester hit on a brilliant way of revitalising her career. She would openly admit her true age (hitherto something of a movable feast) and reinvent herself as Britain's first middle-aged sex symbol, the glamorous, sexy Older Woman. Or perhaps not quite the first; her slightly older contemporary Diana Dors had been trying something similar without success, the difference being that Collins, unlike Dors, had preserved her youthful good looks well enough to make such a transformation plausible. The results were "The Stud" and its sequel "The Bitch", both based on novels by Joan's younger sister Jackie Collins. (The third Collins sister, Natasha, famously remarked "One of my sisters writes trash, the other acts in it").
In "The Stud", Joan played Fontaine Khaled, the British wife of a Middle Eastern businessman. (The character was possibly based on Soraya Khashoggi, née Sandra Daly). In its successor, Fontaine is now divorced and the owner of a trendy London nightclub (i.e. disco). Although this is a British film, the word "bitch" in the title is used in the American sense of "sexually promiscuous woman" rather than the more common British usage of "unpleasant or spiteful woman". The plot has something to do with Fontaine's financial problems, a stolen necklace, the Mafia, a horse race and a mustachioed Italian stud- the seventies being the last period in recorded history when a luxuriant moustache denoted rampant heterosexuality rather than the opposite- but none of these elements matter very much. The film-makers were less interested in them than they were in Fontaine's habit of dropping her knickers whenever there is a handsome man (or even an OK-looking man) anywhere in her vicinity.
"The Stud" and "The Bitch" were generally panned by critics, yet both were huge commercial successes, the most successful British films of the seventies apart from the Bond franchise. There is, however, an explanation for this apparent contradiction. The films are little more than soft-core porn, and in an age when porn, whether hard- or soft-core, was much less easily available than it is today, any film involving nudity and sex scenes was virtually guaranteed to be good box-office. Just as the crowds who flocked to see "Emmanuelle" did not do so to admire Sylvia Kristel's acting technique or to polish up their French, so those who flocked to see "The Bitch" had more interest in seeing Joan get her kit off than they did in those aspects of film-making (direction, plot, dialogue, acting, character development, etc.) which are normally the concern of film critics.
Which is just as well as the film is singularly lacking in all those departments. Apart from the incompetence of most of those who had a hand in making it, the film's worst sin is its pretentious tackiness; the scenes of Fontaine's apartment, the supposed luxury hotels and the supposedly high-class nightclub are all obviously intended to convey a sense of luxury and sophistication, but all they do is remind us, forcibly, of just why the seventies are best remembered as the decade that taste forgot.
Collins is the film's only star of any real fame, but even she is just as awful as any of her co-stars. Indeed, her performance is perhaps less forgivable than theirs. They give poor performances because of a basic lack of talent; she gives one because of a total lack of sincerity. It is perhaps ironic that she is best-known for playing sultry femmes fatales, because on the evidence of "The Stud", "The Bitch" and "Dynasty" (where her character Alexis Carrington was essentially Fontaine Khaled toned down to meet the more puritanical standards of prime-time television) it is not the sort of role in which she excelled. Her performance here is marked by a sort of arch, knowing irony; her attitude could not have been more clear if she had worn a t-shirt throughout bearing the slogan "Daahling, I'm really a classically-trained RADA graduate- I'm only acting in this crap because it pays the mortgage".
Collins is on record as alleging that "Can Heironymus Merkin .." was one of the factors leading to the breakdown of her marriage to Newley. This experience did not, however, dissuade her from intermingling her professional career with her marital affairs, as her third husband, Ron Kass, acted as the producer of "The Bitch". When that marriage also broke down a few years later, I am surprised that this film did not feature as an exhibit to her divorce petition. 2/10
There's a lot wrong, but Joan Collins more than makes up for it
fontaine-khaled12 May 2007
Looking back nearly 30 years, there's so much wrong with The Bitch that it's almost impossible to comprehend how it was so successful at the UK Box Office. With its sister film The Stud (1978), it was one of the most successful UK films of the decade (of the two, The Bitch outstripped The Stud). Both films were panned by the critics. The acting is mostly dire and the script is laughable. The plot is so wafer-thin and ludicrous (a Mafia plot involving a dodgy Greek businessman, a ring and a fixed horse race, based around a Mayfair disco) that you begin to wonder how it made so much money.
One thing redeems it all - Joan Collins. She is just amazing, a stunning performance considering the lameness of all around her. The famous, extraordinary "chaffeur cap" seduction & striptease scene is for me possibly the best seduction scene in the whole of cinema. It never ceases to entertain. And considering that Joan Collins was 45 when she made this, it deserves a high mark for that alone.
One thing redeems it all - Joan Collins. She is just amazing, a stunning performance considering the lameness of all around her. The famous, extraordinary "chaffeur cap" seduction & striptease scene is for me possibly the best seduction scene in the whole of cinema. It never ceases to entertain. And considering that Joan Collins was 45 when she made this, it deserves a high mark for that alone.
70's Jet Set trash film
Falconeer1 November 2012
"The Bitch" is one of countless exploitation films dealing with the sex lives of the "jet set" crowd, (today they are known as the '1 percenters.) This film offers a tawdry look into a very decadent lifestyle, led by people with no real morals or concern for anything other than their own pleasure. Days are filled with shopping sprees at Cartier and fashion shows, and nights are spent at tacky London discos, or bed hopping. The wealthy circle is rather small, so it seems like everyone has already slept with everyone else, and everybody knows everyone's secrets. Joan Collins is admittedly very good as Fontaine Khaled, the forty-something socialite who made her financial stake by marrying an Arab billionaire, who foolishly gave her everything she could want, before he discovered her extra marital affairs, and quickly divorced her. In this film, a sequel to "The Stud," which is a better film, Fontaine must use her own "skills" to survive. And survive she does, quite well actually.
This is super-trash on the highest level. We have violent mob bosses, nude swimming pool orgies, sex with the chauffeur, fixed horse races, jewel smuggling and endless discotheque scenes. And there is an endless display of thick mustaches, thick ties, and thick Euro accents. In fact "The Bitch" might just be the most "70's movie" ever made. Is it good? It is a bit uneven. Some might be put off by the lengthy dance sequences, while fans of the disco era styles and "Saturday Night Fever" will be entranced. "The Bitch," if nothing else, is supremely entertaining, and at times, fascinating. Of course it is all fantasy, but somehow we know that there are people who actually live like this, and this film provides a window into that World. Collins is a lot of fun here too. The first film, "The Stud" was somewhat of a commentary on how the working class are used and exploited by the upper class, and it condemns their decadent lifestyle. This sequel however, forgets all of that, and just embraces that lifestyle, and wallows in the decadence. The moral? There is none..other than "every man (or woman) for themselves, and the one who ends up with the most toys wins..
Update Sept. 2020 The advent of Bluray technology is allowing us to see these old, neglected films, restored to their original glory. Suddenly a movie that looked cheap, ugly and incompetent, suddenly looks gorgeous. This film's restoration is truly a revelation. "The Bitch" suddenly looks like a polished Hollywood movie with high production values. Everything looks stunning, from the neon color-saturated discos to the smoky casinos. The home of Fontaine Khalad is a 70's art-deco dream, with it's gleaming chrome, mirrors and zebra rugs. Even the scenes in the English countryside become poetically beautiful..even the soundtrack has been amped up, and those fun disco songs are given life...what a difference from those old, muddy transfers from Thorne-EMI video! Both this film and it's "brother" film, "The Stud," need to be seen in their restored glory, before they are properly judged.
This is super-trash on the highest level. We have violent mob bosses, nude swimming pool orgies, sex with the chauffeur, fixed horse races, jewel smuggling and endless discotheque scenes. And there is an endless display of thick mustaches, thick ties, and thick Euro accents. In fact "The Bitch" might just be the most "70's movie" ever made. Is it good? It is a bit uneven. Some might be put off by the lengthy dance sequences, while fans of the disco era styles and "Saturday Night Fever" will be entranced. "The Bitch," if nothing else, is supremely entertaining, and at times, fascinating. Of course it is all fantasy, but somehow we know that there are people who actually live like this, and this film provides a window into that World. Collins is a lot of fun here too. The first film, "The Stud" was somewhat of a commentary on how the working class are used and exploited by the upper class, and it condemns their decadent lifestyle. This sequel however, forgets all of that, and just embraces that lifestyle, and wallows in the decadence. The moral? There is none..other than "every man (or woman) for themselves, and the one who ends up with the most toys wins..
Update Sept. 2020 The advent of Bluray technology is allowing us to see these old, neglected films, restored to their original glory. Suddenly a movie that looked cheap, ugly and incompetent, suddenly looks gorgeous. This film's restoration is truly a revelation. "The Bitch" suddenly looks like a polished Hollywood movie with high production values. Everything looks stunning, from the neon color-saturated discos to the smoky casinos. The home of Fontaine Khalad is a 70's art-deco dream, with it's gleaming chrome, mirrors and zebra rugs. Even the scenes in the English countryside become poetically beautiful..even the soundtrack has been amped up, and those fun disco songs are given life...what a difference from those old, muddy transfers from Thorne-EMI video! Both this film and it's "brother" film, "The Stud," need to be seen in their restored glory, before they are properly judged.
Slow and repetitive
Leofwine_draca1 July 2017
Warning: Spoilers
THE BITCH is another Joan Collins-starrer based on a novel by her bestselling author sister Jackie. It's a follow-up to THE STUD which dispenses with Oliver Tobias's character to instead focus on Collins's fortunes. As is normal for her character, she spends most of the film half naked and bed-hopping, dealing with gangsters and disco dancing throughout. The cheesy fashions and cheesier nightclub scenes are what I found most appealing about this film, as the sexual stuff is quite the turn-off. The late '70s pop music is a lot of fun. Collins plays her role ice cold and is certainly believable in the part but the rest of the film is quite long-winded and boring, feeling repetitive and small-scale. Watch out for the likes of Pamela Salem, Sue Lloyd, Ian Hendry (incredibly aged), George Sweeney, and a youthful Bill Nighy in support.
All this Bitching and Joaning isn't helping anything.....
Poseidon-322 November 2006
Warning: Spoilers
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!
I can't even write the name of this movie
BandSAboutMovies6 September 2022
Warning: Spoilers
Jackie Collins gave her sister Joan the film rights to both The Stud and The B**** for free so that they could become movies. Both were co-produced by the sisters' husbands at the time (Oscar Lerman was married to Jackie and Ron Kass was married to Joan). Both were huge successes and brought Collins' acting career back; when Aaron Spelling saw these movies, he knew she'd be perfect in the role of Alexis Carrington in Dynasty.
Directed and written by Gerry O'Hara (Fanny Hill, The Mummy Lives) takes place after The Stud - which Collins watches on an airplane in a meta moment - and finds Fontaine Khaled (Collins) divorced but still living that disco diva life. Yet her club Hobo is now struggling. But all that she can think about is Nico Cantafora (Michael Coby), a gambler who owes the mob big money and is using her, first to smuggle a stolen diamond. When she finds out, she's upset, but soon lets him back in her bed.
This entire film is about her trying to save Nico from his debts and save her club, but at the end, it turns out that crime lord Thrush Feathers (Ian Hendry) now owns Hobo. This was to set up a third book and film that never came.
You know what I liked? John Ratzenberger showing up as a disco swinger.
The soundtrack, put out on Warwick Records, is pretty great. There's the title track by Olympic Runners is solid, plus there's Blondie's "Denis," The Gibson Brothers song "Cuba," Quantum Jump's "The Lone Ranger" and Leo Sayer's "You Make Me Feel Like Dancing."
Directed and written by Gerry O'Hara (Fanny Hill, The Mummy Lives) takes place after The Stud - which Collins watches on an airplane in a meta moment - and finds Fontaine Khaled (Collins) divorced but still living that disco diva life. Yet her club Hobo is now struggling. But all that she can think about is Nico Cantafora (Michael Coby), a gambler who owes the mob big money and is using her, first to smuggle a stolen diamond. When she finds out, she's upset, but soon lets him back in her bed.
This entire film is about her trying to save Nico from his debts and save her club, but at the end, it turns out that crime lord Thrush Feathers (Ian Hendry) now owns Hobo. This was to set up a third book and film that never came.
You know what I liked? John Ratzenberger showing up as a disco swinger.
The soundtrack, put out on Warwick Records, is pretty great. There's the title track by Olympic Runners is solid, plus there's Blondie's "Denis," The Gibson Brothers song "Cuba," Quantum Jump's "The Lone Ranger" and Leo Sayer's "You Make Me Feel Like Dancing."
70s Nostalgiafest!
sallyroberts9 September 2006
This film is really a load of tosh and a waste of Joan Collins' considerable acting talents - BUT - if you grew up in the 1970s you will have a certain nostalgic affection for it. I remember very well the iconic nightclub "Regine's" on which Fontaine Khaled's disco was based - even with the same squared dance-floor - and the fashions with lots of bright colours, flashy jewellery and designers such as Yuki.
The dialogue is absolutely appalling and the delivery by most of the actors stilted to say the least.
If you "suspend disbelief" and take this film for what it is; a piece of nostalgic, escapist fluff; then you are in for quite an enjoyable way of passing an evening - AND you'll enjoy all the 70s disco music!
The dialogue is absolutely appalling and the delivery by most of the actors stilted to say the least.
If you "suspend disbelief" and take this film for what it is; a piece of nostalgic, escapist fluff; then you are in for quite an enjoyable way of passing an evening - AND you'll enjoy all the 70s disco music!
The Bitch is back.
BA_Harrison6 June 2018
Joan Collins returns as middle-aged, sex-mad uber-bitch Fontaine Khaled in the inevitable sequel to The Stud, which sees her becoming involved with a hustler named Nico (Antonio Cantafora), who is trying to raise money to pay off his debts to the mob. But Nico isn't the only one with financial problems: Fontaine is also feeling the pinch, her divorce leaving her far less affluent and her London disco Hobo failing to pull in the crowds.
If you enjoyed the tacky disco-era smut that was The Stud, there's a very good chance that you'll enjoy The Bitch as well, this sequel delivering the same heady concoction of swinging sex, melodrama, and crazy dance floor action, all accompanied by a throbbing soundtrack of '70s smashers (including Leo Sayer, Real Thing, Blondie, and The Three Degrees).
Fontaine has nookie with every man she meets (sporting black basque, stockings and suspenders and chauffeur cap to seduce her driver), there's a swimming pool orgy scene (yes, another one!), Nico screws a mystery woman who turns out to be working for the mob, and Ian Hendry turns up as British gangster who wants Nico to pay off his debts by doing a small favour for him.
It's all instantly forgettable trash, as one might expect from a film based on a Jackie Collins novel, but it's fun for the duration.
If you enjoyed the tacky disco-era smut that was The Stud, there's a very good chance that you'll enjoy The Bitch as well, this sequel delivering the same heady concoction of swinging sex, melodrama, and crazy dance floor action, all accompanied by a throbbing soundtrack of '70s smashers (including Leo Sayer, Real Thing, Blondie, and The Three Degrees).
Fontaine has nookie with every man she meets (sporting black basque, stockings and suspenders and chauffeur cap to seduce her driver), there's a swimming pool orgy scene (yes, another one!), Nico screws a mystery woman who turns out to be working for the mob, and Ian Hendry turns up as British gangster who wants Nico to pay off his debts by doing a small favour for him.
It's all instantly forgettable trash, as one might expect from a film based on a Jackie Collins novel, but it's fun for the duration.
Not a bad movie!
sidneymd4 September 2006
This movie begins where The Stud left off. Fontaine is down and out, but she has plans to get back on her feet again. She is an interesting character; rather complex and obviously driven by sexual desire. Maybe this desire is about pleasure, maybe it is about being in control of her life. She is a very determined woman who goes after what she wants with everything she has. This movie is worth seeing if you like Joan Collins (she is in top form!) or really strange and not very good movies. I happen to like all sorts of movies. I find lots of bad ones enjoyable! Joan Collins gets to wear a lot of excellent ensembles and she plays a very good bitch! There are some good scenes, but the intro music is really quite terrible. I was embarrassed for it. Other than that I think you should watch it with an open mind and revel in how random a movie can be.
A waste of time
Wizard-86 April 2013
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".
Disco Queens - OK Britsploitation
ninjaalexs27 January 2022
A critical flop with both fans and critics. In the last few decades it has built up a fanbase and become a bit of a cult movie.
The plot is pretty incomprehensible with Nico smuggling a diamond to pay off a gambling debt to some hardened criminals and Joan Collins being the woman he has a fling with.
The film came hot on the platform heels of the "discoploitation" subgenre with the pinnacle being Saturday Night Fever and some true oddities like Disco Godfather. There are some truly appalling disco scenes that do not capture the glamour and feature largely unprofessional and unchoreographed dance scenes. Even worse the nightclub scenes take up aroun ten minutes of the film which has an already short runtime; obvious filler.
Joan Collins looks great. One of the eye popping scenes is her in a red and black basque which was used for the poster art. The sex scenes are brief with Joan keeping her clothes on for most of it and even a swinger scene in a mansion feels a bit limp.
This film isn't a total mess. Nice photography, great locations and set pieces, a bit of campy dialogue and some good looking actors who can actually act make for a decent night in with a few beers. Ignore the low review scores, fans of exploitation films have always known what's good.
Joan Collins was maligned for this film as her starpower was fading by the time she did The Stud. Ironically this sequel was a factor in showing the world she was still a sex symbol and an icon at 45 and I'm sure lead to her being cast in Dallas.
The Blu-Ray from Kino Lorber features a soft print, most likely from film deterioration, clear sound and the commentary track is a hoot.
The plot is pretty incomprehensible with Nico smuggling a diamond to pay off a gambling debt to some hardened criminals and Joan Collins being the woman he has a fling with.
The film came hot on the platform heels of the "discoploitation" subgenre with the pinnacle being Saturday Night Fever and some true oddities like Disco Godfather. There are some truly appalling disco scenes that do not capture the glamour and feature largely unprofessional and unchoreographed dance scenes. Even worse the nightclub scenes take up aroun ten minutes of the film which has an already short runtime; obvious filler.
Joan Collins looks great. One of the eye popping scenes is her in a red and black basque which was used for the poster art. The sex scenes are brief with Joan keeping her clothes on for most of it and even a swinger scene in a mansion feels a bit limp.
This film isn't a total mess. Nice photography, great locations and set pieces, a bit of campy dialogue and some good looking actors who can actually act make for a decent night in with a few beers. Ignore the low review scores, fans of exploitation films have always known what's good.
Joan Collins was maligned for this film as her starpower was fading by the time she did The Stud. Ironically this sequel was a factor in showing the world she was still a sex symbol and an icon at 45 and I'm sure lead to her being cast in Dallas.
The Blu-Ray from Kino Lorber features a soft print, most likely from film deterioration, clear sound and the commentary track is a hoot.
"The Stud" is much better.
alamsami9 June 2002
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...
Much Worse Than The Stud
Michael_Elliott8 July 2017
The Bitch (1979)
1/2 (out of 4)
Fontaine Khaled (Joan Collins) is now on her own, making her way through various lovers while also trying to run a disco. Before long her love life starts to get complicated and she also has to deal with some Mafia types trying to get in on her business.
THE STUD was a really bad movie that thankfully reached some cult moments and it was a low-budget film that became a huge hit at the box office. Sadly, when a film makes money a sequel is bound to follow and here we are with THE BITCH. Was it a good idea to make the film? Well, it at least makes the awful THE STUD look much better in comparison.
Usually I list the various problems with a film but in the case of this one I'll just say that everything is a problem. Well, there was one good thing. The film at least looked very professional. Director Gerry O'Hara at least manages to give you a good looking movie but, to be honest, that doesn't make it any more entertaining. There are some pretty bad performances scattered throughout the film, there's some bad editing and I'd even argue that it doesn't live up to the original.
The film doesn't reach the same sleazy level as the original, although it does try to copy some of the original film's elements. The orgy sequence from the first movie was trashy but the one here is just lame. Yes, the one here contains more nudity but by the time it happens most viewers will already be asleep. We're given another title track and a very bad one at that. Collins isn't nearly as bitchy as the first film and all of the characters are a complete bore.
1/2 (out of 4)
Fontaine Khaled (Joan Collins) is now on her own, making her way through various lovers while also trying to run a disco. Before long her love life starts to get complicated and she also has to deal with some Mafia types trying to get in on her business.
THE STUD was a really bad movie that thankfully reached some cult moments and it was a low-budget film that became a huge hit at the box office. Sadly, when a film makes money a sequel is bound to follow and here we are with THE BITCH. Was it a good idea to make the film? Well, it at least makes the awful THE STUD look much better in comparison.
Usually I list the various problems with a film but in the case of this one I'll just say that everything is a problem. Well, there was one good thing. The film at least looked very professional. Director Gerry O'Hara at least manages to give you a good looking movie but, to be honest, that doesn't make it any more entertaining. There are some pretty bad performances scattered throughout the film, there's some bad editing and I'd even argue that it doesn't live up to the original.
The film doesn't reach the same sleazy level as the original, although it does try to copy some of the original film's elements. The orgy sequence from the first movie was trashy but the one here is just lame. Yes, the one here contains more nudity but by the time it happens most viewers will already be asleep. We're given another title track and a very bad one at that. Collins isn't nearly as bitchy as the first film and all of the characters are a complete bore.
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