A sinister criminal organisation are planning to blow up an oil refinery in Ecuador, plunging the country into chaos and disrupting the entire region. A special agent is sent to foil the scheme, but little does he know, the villains have put an even more diabolical plan in motion…
Julio Alemán returns as Alex Dinamo; this week’s ‘Bond On A Budget’ in a direct sequel to ‘SOS Conspiracion Bikini’ (1967). A Mexican ‘Eurospy’ picture? Well, yes, if that’s not a contradiction in terms. Guns, girls and gadgets? Well, yes again, if you leave out the gadgets. More like Blondes, Bikinis and Bad Guys, really. But if that sounds a bit negative, at least the film does lives up to its English Language title, making a serious effort to show that the female of the species is at least as deadly as the male.
The fight against the evil SOS organisation goes on! This time around they’re under the leadership of cold-hearted Solva (Elizabeth Campbell). Her major strategy seems to be sending frogmen to plant explosives at a major coastal oil installation in Latin America. In reality, however, she’s got something far more villainous in mind; releasing a deadly virus into the water supply of any country she chooses. The germ’s been engineered by her new pet scientist, who arrives at Miami Airport inside a coffin. Luckily, the free world has Servicio International to protect and save: an international espionage network on the side of the angels, featuring super spy Alemán and some rather attractive co-workers.
As you might imagine, this is pretty formulaic stuff; the ‘Bond; template had become a global phenomenon and inspired more super spy knock-offs than there were minions in jumpsuits waving prop guns around. Deviation from that was not to be considered. The first film in this short series had leaned more toward the comedic, mostly centring on Alemán’s eye for the ladies, but this sequel is played almost totally straight.
Alemán is no longer saddled with a jealous girlfriend, although he does seem close to colleague Alma Delia Fuentes (‘Island of The Dinosaurs’ (1967), ‘Blue Demon: Destructor of Spies’ (1968)). Are they in a relationship? It’s not really clear because writer-director René Cardona Jr doesn’t establish the identities of any of his characters beyond generic ‘good guy/bad guy’ labels. In fact, there are so many anonymous cast members running about knocking each other off that the killings have no dramatic impact whatsoever and often seem meaningless in terms of the plot.
One of the film’s main problems is that it plays out over a running time that approaches two hours and, without big action scenes, stunts or a compelling storyline, it is hard for an audience to stay engaged. There’s also a suspicion that this may have been filmed as two TV episodes. The oil refinery thread is resolved around the halfway mark with a very protracted shootout on a beach. Both Alemán and Funetes are wounded in the exchanges but, of course, they aren’t badly hurt. If there’s one thing the movies have taught us, it’s that a bullet in the shoulder is a mere scratch, which can be easily overcome by wearing your arm in a sling for a couple of minutes. But it’s only after these scenes that the virus storyline begins in earnest, giving the film the definite feel of a game of two halves.
There is plenty of gunfire though, with quite the troop of young ladies running around the glamorous hot spots of San Juan, Guayaquil and Miami firing off automatic weapons without due care and attention. This might surprise an audience in a film this old, but Mexican cinema was never shy of letting the girls get their hands dirty. Witness the wonderful ‘Wrestling Women’ of the early 1960s (one of whom was played by Campbell) and their tussles with gangsters, mad scientists and the ancient Aztec undead.
But, before you start applauding the film’s feminist credentials it’s worth pointing out that few of the girls get any sort of character to play (let alone develop) and for the vast majority of the running time, they’re all dressed in bikinis. This includes agent Barbara Angely who runs about on a beach for simply ages trying to put on her scuba gear while being shot at from a low-flying aircraft. Rather typically, the sequence becomes yet another reminder for the necessity of training your minions properly. They can’t hit her despite multiple fly-bys and the obvious difficulties she has hauling the heavy equipment down to the sea. Of course, once she’s eventually beneath the waves, we get the obligatory slow-moving undersea battle featuring frogmen with spear guns and stock footage sharks. Did anyone really find the underwater sequences in ‘Thunderball’ (1965) that exciting?
There’s little creativity or invention in this ‘by-the-numbers’ Bond. After all, SOS stands for ‘Secret Organisational Service’. Still, you don’t see all that many movies where the most significant part of the budget was probably spent on swimwear.