Caroline is to be wed to Sir Ralph and invites her sister Barbara to be her bridesmaid. Barbara seduces Ralph, however, and she becomes the new Lady, but despite her new wealthy situation, ... See full summary »
Caroline is to be wed to Sir Ralph and invites her sister Barbara to be her bridesmaid. Barbara seduces Ralph, however, and she becomes the new Lady, but despite her new wealthy situation, she gets bored and turns to highway robbery for thrills. While on the road she meets a famous highwayman, and they continue as a team, but some people begin suspecting her identity, and she risks death if she continues her nefarious activities. Written by
Ed Sutton <firstname.lastname@example.org>
[about to be hanged]
My friends, I don't care whether you're for me or against me. All that matters is that you've come her today in your thousands to give me a grand send off. To you lovely ladies, don't throw your love, your caresses, your tears on villains like me. Save them for a man who's worth it. An honest, faithful man. If you can find one! To the men I'll give a word of warning, never put your faith in a woman. For no matter how much you may think she loves you, like as not she'll ...
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Misbegotten remake of the 1945 classic...distasteful and ugly
Spoiled Lady Skelton impersonates a notorious highway robber on horseback in the English countryside of the 17th century. It wasn't a bad idea for Michael Winner to stage a remake of Leslie Arliss' rollicking British adventure "The Wicked Lady" from 1945; Arliss' screenplay (credited here, along with Winner and others) was, after all, a tightly-wound and ingenious bit of sinful charade mixed with costume camp. But camp takes over in Winner's version, updated with bare bosoms and humping couples, while his star--the inimitable Faye Dunaway--is appropriately cast but coarse in the lead. Dunaway sports a whopper crop of hair and looks right in the flouncy attire, but she's manic and wild-eyed when all she needs to be is cruelly seductive (perhaps the ghost of "Mommie Dearest" was still dogging her?). Elsewhere, a British cast of elderly veterans and inept newcomers attempt to make the most of a wan situation, but Winner is too hasty in his pacing to allow anyone to carve out a genuine character. Either Winner or his producers (the un-esteemed Golan and Globus) were curiously obsessed with undressed wenches, though not even a whip-snapping catfight (lifted from Leslie Arliss' 1948 film "Idol of Paris") can breathe life into the tired, mangy final act. Cinematographer Jack Cardiff gets some nice shots of the evening sky, but his interiors are dreadful looking. Most of the nighttime heist action was obviously filmed in the daylight with a dark filter, causing even the story's high moments to look shabby. What a waste of an opportunity! * from ****
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