Sequel to Hammer's version of She is actually more interesting than that film, at least to me. I loved the 1935 version of H. Rider Haggard's She. But the Hammer version did little for me. I found it very dull with only Ursula Andress' beauty to recommend it. This sequel is hardly a masterpiece but has enough going for it that it surpasses the previous film. The opening with the corny song playing while hitchhiking Carol (Olga Schoberova) is cornered by a rapist then saved by something mysterious is a moody start to things. The film keeps up that mood as the girl swims out to a yacht and hops aboard. She's being compelled towards Kuma, the lost city from the last film. Turns out Ayesha (again, from She) is attempting to possess the girl. As they make it closer to Kuma, the movie becomes a lot less interesting.

Olga Schoberova is beautiful but brings little to the part other than that. The scenes of her having nightmares screaming out "Ayeeeesha!" will give most viewers giggle fits. Still, she's not as wooden as Andress. Derek Godfrey is the bad guy but there's nothing bad about those awesome eyebrows. Edward Judd and John Richardson are solid. The great Andre Morrell has a small part as a man who helps Carol. Like She, this is pretty dry stuff. Worth watching for a nice score, atmospheric touches, and for Olga's beauty.

Ursula Andress may be burned up from her version of She, but John Richardson who was the incarnation of her lost love Kalikrates is now truly assumed the identity of his ancient ancestor and his now immortal being is running things in that ancient city deep in the African mountains.

In The Vengeance Of She, Richardson still has certain temporal needs and feelings and the memory of Andress and a strong right hand just isn't enough. She who must be obeyed has reached from the beyond to one who is maybe her blood kin in the present day played by Olga Schoberova.

The only problem for Schoberova is she's develops a flesh and blood boyfriend in Edward Judd who doesn't want to lose her. Richardson has an additional problem, an Arab sheik played by Derek Godfrey who wants some of that immortality. He has delusions of being Osama Bin-Laden and even Osama didn't quite aspire to that.

One breathtaking plot and give the players credit for delivering these lines like they were written by the Bard. But this one truly is ludicrous.

Three years after their reasonably entertaining version of H. Rider Haggard's classic adventure 'She', Hammer Studios produced a sequel, 'The Vengeance of She'. Lacking the star power of the original (Ursula Andress, Peter Cushing and Bernard Cribbens are noticeable by their absence),the film is a dreary retread of events from the earlier movie, albeit with the roles reversed: this time around, it is the immortal Killikrates (John Richardson) who is pining for his long-dead love Ayeesha.

Convincing Killikrates that his soul-mate has finally been reborn in the form of a stunning European blonde named Carol (Olinka Berova),power-hungry occultist Men-Hari (Derek Godfrey) strikes a deal with the lovelorn leader: if he can successfully lure Carol to the lost African city of Kuma (using his powerful black magic),then he must be granted permission to pass through the sacred blue flame that would bring him immortality (and give him a pop at taking over the world!).

Compelled to travel to Africa by the voices in her head, the confused Carol is joined on her journey by Philip (Edward Judd),a concerned psychiatrist who is determined to ensure the beautiful young woman's safety.

On arriving at Kuma, and discovering the real reasons behind Carol's mysterious calling, Philip sets out to stop the poor girl from being brainwashed into believing she is Ayeesha, and prevent Men-hari from achieving his nefarious goal.

'The Vengeance of She' starts promisingly enough, with the sex-kittenish, mini-skirted Berova (think along the lines of Bardot, and you won't be far wrong) making quite an impression as she walks through the French countryside (accompanied by a haunting theme song),but it soon descends into a messy mish-mash of boring mystical mumbo-jumbo, lacklustre adventure, and unconvincing melodrama.

Director Cliff Owen wisely makes the most of Berova's awesome physical attributes to try and distract his audience, having her slip into clingy white robes that give viewers a tantalising glimpse of her marvellous milky puddings (please note: my workmate Phil wanted me to use that phrase in one of my comments),but even with endless gratuitous lingering shots of her semi-clad form, the film still winds up as something of a snooze-fest.