I'm not sure whether to describe this film story as misogynistic or misandrist, but it seems to be a combination of both. It concerns a cartel of women (led by Shirley Eaton of "Goldfinger") who are determined to take over every government of the world, kill off as many men as possible, and attempt to live in peace and Harmony. Note: attempt. Eaton has any woman or even glances a man's way romantically knocked off, and that puts the two male leads, Frankie Avalon and George Nader, in jeopardy. Spider woman Eaton is charming on the surface, but there's something in her eyes and the way they are made up that makes it clear that she is truly evil. Even her outfits and cigarette holder indicate that.

One-note female characters don't really add any sympathy to the majority of the women's roles, outside of the ones who have romantic inclinations and get ceremoniously bumped off. It's exotic-looking, but it's hard to gauge what the point of the man hating is supposed to achieve. Wilfred Hyde White adds the only amusement, but the film overall is really unpleasant. The script gives the men the most idiotic lines, all sexual insinuations that only seek to portray the male species as sex-crazed barbarians. After a while, the stupidity of the whole thing just becomes too much to bear, with the more beautiful the woman presented as even more diabolical than the others. Without a doubt, one of the worst Bond ripoffs of the 60's.

Playing the lead role as Su-Muru is that golden Bond girl Shirley Eaton from Goldfinger. Shirley is a female version of Fu Manchu and I can just hear Great Britain's man in the east Nayland Smith referring to her as an Oriental She Devil.

Wilfrid Hyde-White of British Intelligence has handed off the problem of Su-Muru and her thousands of bikini clad agents over to our CIA and its agents George Nader and Frankie Avalon. Like Fu Manchu her ambition is to rule the world. Can't say the girl doesn't have high goals.

For Nader he was approaching a nadir of his career. He was one of those before Stonewall tragedies of a gay man who was getting very tired of living a double life. As for Avalon the Beach movies were coming to a halt and a new music scene took over with that quartet from Great Britain in the latter part of the Sixties. You take what work you can get.

The comedy here falls embarrassingly flat and the players look like they're waiting for their checks to clear. Hope they did.

THE MILLION EYES OF SU-MURU is one of the millions of Harry Alan Towers-produced movies made during the 1960s that were usually filmed in various exotic locations; Hong Kong was the choice for this one. Based on a Sax Rohmer story, this is a film which serves to emulate the popularity of the Christopher Lee-starring Fu Manchu movies which were being made at the same time, except with an all-female twist.

Sadly, it's a bit of a boring affair, a definite case of style over substance and a film which feels rather insipid and tame when watched with modern eyes. Shirley Eaton (GOLDFINGER) is the titular foe, who sends her all-woman army out to kill various world leaders in a bid for world domination. Only two men can stop her: the wooden George Nader (ROBOT MONSTER) and the equally wooden singer-turned-actor Frankie Avalon.

What follows is light, fluffy, and predictable, and this feels much like the Italian Bond rip-offs that flooded cinemas during the late '60s. There are lots of beautiful Euro starlets wandering around showing acres of flesh, a typically bizarre cameo role for Klaus Kinski, and Wilfrid Hyde-White propping up the scenery as he did in many a Towers-produced film. Fans of '60s kitsch might find something to enjoy here, but those who require more substance should look elsewhere. A Jess Franco-helmed sequel, THE GIRL FROM RIO, followed.