The Bitch


Drama / Romance / Thriller

IMDb Rating 3.7 10 1044

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Uploaded By: FREEMAN
August 28, 2021 at 02:58 PM



Pamela Salem as Lynn
Peter Wight as Ricky
Harry Fielder as Punter
Carolyn Seymour as Polly Logan
853.3 MB
English 2.0
23.976 fps
1 hr 32 min
P/S counting...

Movie Reviews

Reviewed by Falconeer 7 / 10

70's Jet Set trash film

"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.

Reviewed by jaibo 4 / 10

fake jeweleery, not a crystal cabinet

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.

Reviewed by sallyroberts 6 / 10

70s Nostalgiafest!

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!

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