What the fuck happened to the
Space Race? It was only forty-five years
ago that we made it to the Moon (let’s take for granted that the Moon landing
wasn’t faked, shall we?). There were
some satellites launched (actually, A LOT of satellites launched), and we even
put that Moon-Patrol-looking thing on
Mars, but we as a collective nation (speaking only for America) have seemingly
lost the desire to move ourselves into space.
Why? Well, if I had to venture a
guess, I would say it’s because space travel became sexy enough for
entrepreneurs to want to monetize it (and naturally discounting the collapse of
the Soviet Union, our big competitor). Unfortunately,
it also became unsexy enough for our tax dollars to fund it (and that’s about
as political as this review will get; relax).
So, the odds on you or I jetpacking around the universe with a woman
proportioned like a Wally Wood or Frank Frazetta bombshell have pretty much
evaporated. But maybe whatever
billionaire who weekends on Uranus (which I now and forever will pronounce
“Your Anus”) will want to take you along sometime. And maybe Michael Ansara will fly out my ass.
Outside of my wild Science Fiction fantasies, though, I honestly can’t
say I’m all that disappointed. Number
one, humans have always had a habit of turning whatever pristine environment
they come upon into a junkyard. Number
two, I don’t like flying.
Senator Stockwell (John Carter) and Victor Connelly (Anthony Eisley) sit down to watch the
latest space rocket launch, but a mysterious phonecaller upbraids the Senator
for not heeding his previous (unforeshadowed) warnings and the rocket
explodes. The two men make their way to
the room-sized computer “Bertha” to find out who they can send to bring this
villain down. “Bertha” spits out The Doll Squad, and before you can say
“Jack Robinson,” team leader Sabrina (Francine
York) is collecting her team members.
Will this be the squad’s toughest assignment yet? Sure.
Why not?
Ted V. Mikels’ film is a melding of the Superspy and Assemble The
Team subgenres, with the twist being that the team consists solely of
women. The first thing most folks would
think of then (okay, maybe just me) is whether this is a feminist film or not
(and I’m not the world’s foremost scholar on feminism, so let’s allow for some
wiggle room here, hmmm?). I think I can
honestly say, to absolutely no one’s astonishment, that it really isn’t. It has feminist elements in it. The women are all strong and treat their jobs
with the same sort of calculated precision an audience would demand of
something like The Dirty Dozen or Le Cercle Rouge. None of the women are man-crazy or defined by
their desire for a man to want them. The
women all make free choices to decide their own fates. Sabrina can even shoot skeet as well as or
better than her male superiors.
Nevertheless, she is in charge of her team, but men are in charge of
her. Also, there is an abundance of
scenes featuring all of the girls in bikinis or skintight jump suits. Of course, this is for the benefit of the more
lusty audience members and has no purpose other than to appeal to the prurient
interest, and it does so quite well. Had
the group dressed in fatigues and been loaded down with equipment, the film
would have had a different flavor entirely, but it also likely wouldn’t have
made a penny at the box office. I don’t
mean to imply that the only way for women in films to represent equality is by
dressing them sexlessly, but it makes an interesting point: Would an audience take these characters more
seriously had they dressed in a more masculine fashion? At the end of the day, I suppose the point is
moot. Mikels knows his audience well enough to not let it bog him down.
Now that I’ve successfully
misinterpreted an entire civil rights/societal movement for the purposes of a
film review, let’s move on to how this stacks up in two of its respective
subgenres. In the realm of Assemble The
Team movies, it hits all the numbers, and it even starts off the process with a
nice twist which I won’t ruin here. You
have the initial recruitment scenes, where we are introduced to the various
agents. Intriguingly, all but one does
something completely unrelated to their Doll Squad work in their civilian
lives, and that one is, arguably, the most intellectual of them (maybe not most
intelligent, though). Aside from seeing
Lavelle (Tura Satana) doing a little
burlesque dance and revealing some rather fetching tassels, these scenes aren’t
very engaging dramatically. None of the
women puts up much resistance to joining the mission, except for one, and it’s
token resistance at best. Also, the
women don’t really have specialties the way we would expect of them. Consequently, they’re only slightly
distinguishable from one another, though the differences between their non-government
identities and what they contribute to the team is much more noticeable.
So, how does The Doll Squad…um…stack up as a Superspy film? Well, you have a sort of Bond-ian villain
with Ansara’s Eamon. He, in turn, has a sort of Bond-ian
villainous plan. One of the baddies (okay,
his squeeze) infiltrates the squad with a lifelike disguise. There is a large compound manned by faceless
lackeys in uniform (you would never confuse any of them with any of the
protagonists regardless, I assure you).
There is a briefcase loaded with improbable gadgets and weaponry. The antagonists, ostensibly, threaten the
safety of the American Space Program, so it’s not a localized menace. If nothing else, it’s an ambitious
premise. It’s also on a miniscule
budget, but that doesn’t keep Mikels
down, and in fact, aside from the pulchritude, this is the biggest appeal of
the film. Every explosion is done in
superimpositions. There is a
flamethrower effect done in (you guessed it) superimposition. The men get gunned down but appear to fall
even before guns are fired. The action
scenes are executed with a nimiety of ease and a paucity of suspense or tension
in that telltale style reserved for friends of the filmmakers who are being
paid in ham sandwiches. And ham is the
name of the game. Now, I love ham, and
this is pretty forgettable ham, but it’s still tasty.
MVT: There wouldn’t be The Doll Squad without the dolls, and
they are the main attraction at this sideshow.
Mission accomplished, ladies.
Make Or Break: The Make is
the assault on Eamon’s compound. It’s
fun and keeps the pace up, despite its various shortcomings. There’s just enough violence and
red-paint-loaded squibs to keep butts in seats.
And did I mention that it’s all carried off by pretty women in tight
jump suits. Well, it is.
Score: 6/10
No comments:
Post a Comment