paul_johnr
'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
L. Denis Brown
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.
jamms
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.
