Iseerphia All that we are seeing on the screen is happening with real people, real action sequences in the background, forcing the eye to watch as if we were there.

Joanna Mccarty Amazing worth wacthing. So good. Biased but well made with many good points.

Ava-Grace Willis Story: It's very simple but honestly that is fine.

Roxie The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

jjcarr-49015 *Borderline Spoiler* Stacey (Meg Myles) works as a burlesque dancer in a carnival. When her ex-con, (ex?)junkie, ex tries to reunite with her and start anew she tricks him out of his money and flies to New York, wearing a trench coat over her burlesque outfit. She picks up another man on the plane. Hoping to become a nightclub singer at Pepe's she is willing to use and be used by such men (and women?) to do so. Pepe (Grayson Hall), the manageress who grooms her, is portrayed as a then-stereotypical lesbian, just as the piano player is shown as effete. Arnold (Mike Keene), the club's crooked owner, has paid off his last mistress (played with some dignity by Nolia Chapman) and sees Stacey as her replacement. Laurence (Robert Yuro), his Fredo-like son, falls for her. She tries to juggle the two.When the ex, high, knife in hand and initially intent on revenge, finds her she sees the chance to play him for a sap yet again. Get him to kill the father supposedly so they can be together, then get the son, the father's money and the ex back in jail. Why a six? This is a competently made, if unexceptional, low-budget film with a noir feel to it. The characters are sordid but not portrayed in a sleazy fashion. There are elements of titillation, the femme fatale spends a lot of time in lingerie and/or leather and the British actress Sabrina, famed in her day for her natural Barbie-like figure, appears as herself as Stacey's rival in a series of glamorous outfits.

mark.waltz While some might call this obviously cheaply made trashy drama an exploitation classic, I became fascinated by its two leading female characters, actors I'd known from my soap opera viewing of the 1980's. When I first saw Meg Myles on my daytime TV screen, she was playing the kind-hearted tavern owner Sid on "The Edge of Night", dispensing advice along with coffee and pie and trying to find love in a violent, mob controlled town. Around the same time, Grayson Hall was playing the scheming Euphemia on "The Edge of Night", the turban wearing matriarch of a tragic Southern family vowing revenge on the wealthy Texan who had allegedly stolen her family fortune. In the middle of the night during the time, I caught Grayson in her Oscar nominated role as the nasty Miss Fellowes in "The Night of the Iguana" where she played a repressed lesbian whose sexuality was only assumed because of her desperation to keep teenage nymphet Sue Lyon "pure". In this drama, made two years prior, Ms. Hall plays Pepe, a sophisticated nightclub manager who is assumed to be a friend of Sapho's as well, although that is never spelled out. Pin-up Meg Myles already had a singing career and some film experience when she was cast in this film which utilizes her busty hour glass figure to great advantage. Only 28 when she made this film, for some reason, she seems nearly 10 years older, so for men to go ga-ga over her and kill to keep her out of other men's arms seems absurd. She's first seen ripping off an ex who had earlier tried to kill her, flying to New York, picking up a man on a plane who sets her up with a singing career at Pepe's. Hall takes her in, dominates her time, introduces her to important people and promotes her as a new singing find. Myles does indeed have a good singing voice, but it's obvious that her tracks were dubbed and that she's lipsincing to loudly piped in recordings, especially in her final song, clad in leather and brandishing a whip. Manipulating the suave Hall into getting hired, she also becomes involved with wealthy Mike Keene and his teenaged son (Bob Yuro) whom the audience is never sure of whether he is in high school (boarding) or college. He looks far older than college age, but the love scenes between Myles and Yuro still make her seem much older. Noila Chapman is great in her few scenes as the aging drunk whom Keene dumps to pursue Myles, and Del Tenney is fabulously bitchy as the obvious gay Paul whom Myles refers to as "Paulette". This reminded me in some ways of the same year's "Walk on the Wild Side" where Barbara Stanwyck played the lesbian owner of a brothel, as well as 1965's "Who Killed Teddy Bear" where Elaine Stritch added even more glamour to her lesbian character who ran a bar just like Hall does here. There were even some elements of the 1933 Stanwyck film "Baby Face", although Myles seems slightly longer in the tooth here. The scene where Yuro and Myles end up at his father's country hideaway (complete with pool and waterfall) does give Myles a chance to show the desperation for a quiet, peaceful life, but her ambitions take over and back to New York it is where her betrayal of both men takes a sudden violent turn. Myles really isn't "Satan in High Heels", but your average bad girl who takes several nasty turns (theft and the urging of one man to kill another), and as much as I like her, find her made to look cheap and vulgar and not really the ideal of any man's sexual fantasy outside the glimpse of her ample bust. I would have liked to have seen more of Hall on screen as she has that great raspy voice presence that made her seem like a fellow stage sister to Stritch and the equally raspy Eileen Heckart, showing that the "Baritone Babes" are often more fascinating than the sexually over-exploited blondes, here represented by the fairly amusing Sabrina as Myles' rival at Pepe's nightclub.

Scott LeBrun The female of the species, is more deadly than the male!Agreeably sordid melodrama is fine as a curiosity piece, although in truth, it's not titillating or sleazy enough to be of great use to hardcore exploitation fans. It stars Meg Myles ("Coogan's Bluff") as Stacey Kane. Stacey toils away as a burlesque show stripper at a carnival until her junkie ex-husband Rudy (Earl Hammond) shows up one night, wanting to start fresh. He's got a wad of bills with him (payment for a story he wrote), which is big temptation for her, so she steals it and takes off for NYC, where she soon starts a new life as singer in a nightclub, run by a lesbian character named Pepe (Grayson Hall of 'Dark Shadows') and owned by Arnold Kenyon (Mike Keene). Before too long, she's become involved with both Arnold and his ne-er- do-well son Laurence (Robert Yuro, "The Shakiest Gun in the West").Overall, the movie is competently done, and certainly better acted than one might expect, with an especially fine, effectively bitchy performance by the sexy Ms. Myles. Hall and Keene are also quite good, but what's really amusing is noting that Paul, the suave, bisexual pianist, is played by Del Tenney. Tenney was better known as a cult director during the 1960s; he went on to helm "The Horror of Party Beach", "The Curse of the Living Corpse", and "Zombie" a.k.a. "I Eat Your Skin". English entertainer Sabrina (playing a character named Sabrina) rounds out the main cast.Unfortunately for some, "Satan in High Heels" fails to measure up to that grabber of a title. It's not that the story isn't diverting at all, but the pacing is slow, and things never ever get that interesting, at least until Myles belts out her show stopping number near the end. In fact, the four songs in this movie are actually not bad.Still worth a look, but it might not appeal to trash lovers across the board.Six out of 10.

melvelvit-1 Satan IN HIGH HEELS treads the same "noirish" territory as Beverly Michaels' 1953 WICKED WOMAN -so much so it could be considered an unintended upscale remake. Stacey Kane ruthlessly uses men and women alike to rise from Midwest carnival burlesque queen to Manhattan jazz club diva but, like BLAST OF SILENCE's Frankie Bono (made the same year on location in NYC), a semblance of tender feelings can prove disastrous. Tired of bumping and grinding on the midway, Stacey steals her junkie ex-husband's bankroll and heads for New York and a new lease on life. On the plane she seduces a man who introduces her to the lesbian manager of a Greenwich Village jazz club where she's hired on the spot after a smoky audition and the voluptuous vixen wastes no time ensnaring the club's wealthy owner in her sexual web as well. Things get complicated when his teenage son also falls for her but Stacey, forced to choose between love and money, sees a way to have it all when her hell-bent for revenge ex-husband reappears brandishing a knife...The early 60s NYC jazz club scene provides an atmospheric background for the rise and fall of a wicked woman with the lesbian club manager (Grayson Hall from DARK SHADOWS fame) and gay pianist lending an air of "adult" authenticity. Pneumatic pin-up queen Meg Myles as the predatory Stacey makes a memorable sociopath and gets to growl "Deadlier Than The Male" decked out in leather breeches and riding crop. As a compliment to the breast and leather fetishes, British sexbomb Sabrina is also on hand as the club's star attraction and she warbles as well. What's not to like?